Maybe it was in 2014, when its second location opened in the Kardashian-rich foothills of Calabasas.
Or was it 2018, when Kanye West tweeted about “Erewhon drip,” sending legions of Yeezy wearers on a mad scramble for (then-bootleg-only) merch? How about the summer of 2022, when TikTok caught on to its Hailey Bieber smoothies ($18 and fortified with things like “vital proteins vanilla collagen” and “hyaluronic acid”), unleashing an avalanche of #Erewhon-tagged content to the tune of 450 million views?
It’s up for debate what the true tipping-point moment was that transformed Erewhon from just another L.A. health food market into a money-minting retail phenomenon. But there can be no arguing that the wildly popular chain with the strange name — pronounced “air Juan,” an anagram of “nowhere” — is doing something right.
At its 10th and newest location, a flagship store in Pasadena that opened Sept. 13, sales have been so robust that 40 employees needed to be added to the 140 already hired. Erewhon’s stores — all of them located in affluent neighborhoods within Los Angeles County — are averaging weekly sales of $1,800 per square foot, bringing in about $1 million in sales per store each week. By comparison, a well-trafficked Whole Foods — which many feel has seen a dip in quality and cachet since Amazon acquired it in 2017 — earns about the same in a much larger retail space.
For those living outside L.A. — or without access to the internet — what is Erewhon, exactly? For starters, it’s a sleek, inviting space (the stores are designed by Belgian architect Humberto Nobrega) for stocking up on trendy supplements like sea moss and lion’s mane mushroom; cult hot bar offerings (the organic buffalo cauliflower is a best-seller at $19 a pound); smoothies ($12 to $22, based on ingredients and celebrity endorsements); pristine, non-genetically modified produce and healthy snack foods with words like “heavenly,” “good” and “simple” in their names.
But it also has become Hollywood’s trendiest accessible gathering spot, where, free of velvet ropes and bouncers, the fit and famous gather to sip, munch and flirt right alongside the tourists — groupies, really — who arrive directly from LAX to pose for selfies with smoothies in hand.
“It’s the quintessential L.A. experience once provided by fashion boutique Fred Segal,” explains L.A. artist Alex Israel, an Erewhon zealot who visits the store every single day. “In the ’90s, teenagers like me used to save up our money to buy anything we could at Fred Segal. We’d just want to be there: studying the brands, the music and the other shoppers’ outfits, cars and attitudes. And now Erewhon is on the top of that list, giving the dayglow L.A. fantasy to all who visit, every day of the week.” (Israel teases a “special project” involving Erewhon coming in 2024.)
Before any product makes it onto store shelves, it’s assessed by Josephine Antoci, who manages the company’s entire food program, including its hot bar dishes.
Photographed by Maggie Shannon
The Hollywood A-list can’t seem to get enough of Erewhon: Andrew Garfield, Dakota Johnson, Miley Cyrus, A$AP Rocky, Jake Gyllenhaal and Lily-Rose Depp have all been spotted there. And they only continue to flock: In the year since Bieber’s smoothie went viral, hundreds of celebrities and influencers — of wildly varying celebrity and influence — have tried to get their names on their own tonic bar concoctions. Only a handful have succeeded. You’re either a Bella Hadid, or you ain’t.
It goes on: Erewhon is online retail. It’s streetwear drops. It’s Coachella activations. Some fanatics, like Israel, insist it’s a way of life. It’s also a viral marketing juggernaut yet manages to be so with virtually no in-house marketing team and zero advertising budget.
But just who is behind this health and wellness monster? That was the question I posed to myself as I pensively munched on a slice of organic pepperoni pizza ($7, one of Erewhon’s more affordable menu items) at the Silver Lake outpost, which opened amid the COVID-19 pandemic in September 2020.
The answer surprised me. It was not, in fact, the brainchild of some bone broth-sipping, immortality-obsessed Doctor Frankenstein. Nor was it cynically birthed in a corporate boardroom after several rounds of Goop-funded focus-group testing.
It came from the Antocis — just a sweet, all-American, extremely rich family from Brentwood. But don’t let the wholesome exterior fool you. The Erewhon empire was not built by luck or by accident, and the Antocis, canny entrepreneurs that they are, have in the span of a decade joined the ranks of the world’s most influential wellness tycoons. They are the Murdochs of macrobiotics — replete with two sons and a daughter eager to join the family business (in fact, one already has). And wherever they take Erewhon next, you can be sure the world will be watching.
***
“The first thing that people say about Erewhon is that it’s really expensive and full of celebrities,” says Josephine Antoci, the publicity-shy half of the married couple that envisioned Erewhon. “But it’s more than that. We didn’t build our business by being the most expensive or catering to celebrities. It grew very organically, which is nice.” Her son Alec Antoci, who oversees Erewhon’s fashion collaborations, interjects, “No pun intended.”
Alec Antoci
Photographed by Maggie Shannon
The Antocis — dad Tony, 55, mom Josephine, 56, eldest child, Alec, 25, and their youngest, 21-year-old Maddy, enrolled in a real estate program at USC (a middle child, Austin, 23, isn’t fond of the spotlight) — are seated in the garden terrace outside the Pasadena location. The space is designed to be welcoming — with misters, heaters and a cedar trellis that moves according to sunlight — and is packed with shoppers, seemingly overjoyed to have somewhere to hang that isn’t a Starbucks.
It’s a Thursday, and the lunch rush is gathering steam. Inside the store, a pristine temple to healthy living — even the bathrooms are beautiful — a line 20-deep has already formed at the smoothie bar. A tourist couple in their 50s snap selfies in an aisle lined with bags of Irish moss and cacao powder. A girl, about 12, tugs at her mother’s sleeve: “Look, Mom: Hailey Bieber!” I spin around: It’s not actually Hailey Bieber, but rather Bieber’s name on the tonic bar menu, which prominently features her Strawberry Glaze Smoothie.
All this impressiveness descended from extremely humble beginnings. Erewhon was founded in 1966 in a tiny 10-by-14-foot basement in Boston by Aveline and Michio Kushi, pioneers of the modern health food movement, who then opened their first West Coast store on Beverly Boulevard in 1969. But this Erewhon — the one famous the world over — actually began in 1986 in a Chinese restaurant in Beverly Hills called Chang’s Kitchen.
That’s where Tony, then 17, and Josephine, 18, met — Josephine helping the kitchen staff, Tony taking phone orders for delivery. Josephine had just emigrated from Taiwan and was living with relatives while enrolled at Santa Monica College. Tony, the grandson of Sicilian immigrants, grew up the middle of three boys in Pasadena. “My grandfather and his four brothers landed here in the 1950s,” he says. “They operated a liquor store called Vito’s Liquor Store on Valley Boulevard for many years, which my dad ended up then buying from his father.” His father parlayed that into other successful businesses, importing everything from Maine lobsters to German car parts. But he died when Tony was just 15. “He left us at such a young age,” Tony says. “After that, it was my mom who encouraged us to work hard.” At 21, Tony lost his mother, too. “That’s what I lived with every day,” he says. “It’s a hard time.”
At that point, Josephine had been in his life for three years. They married in 1993. Before her death, Tony’s mother taught Josephine how to cook all the Italian dishes her son loved. Josephine was a natural. “My mother is the best cook in the world,” says Alec. “I’ll drop anything and head home if she says she’s making dinner.” (The three Antoci children still live at home. “It’s a hard place to leave,” says Maddy.) Josephine manages the entire food program at Erewhon, creating and overseeing all the hot bar dishes and assessing every product desperately trying to make it onto store shelves. “You don’t really have to read the ingredients,” she says. “We do all that for you.” Of course, it also has to taste good. All that at-home market testing has taken its toll. “I just lost 40 pounds,” says Alec, who credits intermittent fasting. “I had gotten up to 200 pounds and was starting to look thick.”
The Sept. 13 opening of Erewhon’s Pasadena store
Sarah Reingewirtz/MediaNews Group/Los Angeles Daily News/Getty Images
Tony started his first business with his older brother Vito in 1990. (Vito serves as the company’s marketing gatekeeper, overseeing smoothie collaborations.) They distributed private-label mineral water to high-end restaurants on the Westside. The timing was good: Perrier, the only player in the bottled water space at the time, had recalled all of its products over a benzene contamination. Eventually the business grew to selling bar supplies like cherries and olives. Josephine soon joined the brothers and became their one-woman sales force.
“She went to an Italian restaurant one day, and the guy goes, ‘Can I buy some cheese from you?’ ” Tony says.
“Parmigiano-Reggiano,” she notes.
“I go, ‘Take the order. We’ll figure it out,’ ” he continues. “That put us in the food business. Before you know it, we were selling $90 million a year of food to restaurants, primarily on the Westside.” In 2009, the Antocis were made an offer by Sysco, the $60 billion-a-year food distribution giant, to purchase their company, Superior Anhausner Foods. “It was a lot of money,” Tony says, declining to disclose the exact amount. “It was enough money that I never needed to work again. The kids never needed to work again. And I was just like, ‘OK. I worked my ass off for 17 years. I’m going to retire.’ ” Six months into retirement, he found himself going out of his mind with boredom.
“I’d come home from school and ask him, ‘What do you do?’ ” recalls Alec, 12 at the time.
It was March 2009, amid the global economic crisis. But the Antocis had no money in stocks, and, flush with cash from the Sysco sale, Tony set about finding a new company to buy — if for no other reason than to stave off the boredom.
The entertainment business was never in the cards. “I knew nothing about film and TV,” Tony says. “I don’t think I’ve watched 20 movies in my whole lifetime.” And while celebrities may now be synonymous with Erewhon, they’ve never proved alluring to Tony “because I didn’t know anybody,” he says. “Apart from Tom Hanks, because growing up, people would always say, ‘You look just like Tom Hanks.’ ” (It’s true. He kind of does.)
One day, he ran into a former competitor who had moved into natural foods and was raving about its potential. Then another guy he barely knew called him out of the blue and proposed a new venture: “He goes, ‘Buy a bus and go to underserved communities. Make it Whole Foods on a bus,’ ” Tony recalls. “I thought to myself, ‘This is the second guy telling me I should get into the natural foods business. Maybe there’s something here?’ ”
Tony started to pursue the bus idea. “I drove a bus around and thought it was pretty cool,” he says. “I always wanted to drive a bus.” But he realized that stocking the buses would require a warehouse filled with health food supplies. In other words, a grocery store. His associate brought Tony to a little market on Pico Boulevard. “It wasn’t right. So I said, ‘You want to see a real market? Let me show you a real market.’ And I brought him to Erewhon.”
In truth, Tony had never stepped foot inside that Erewhon, which had occupied the same musty space at 7660 Beverly Blvd. since 1991. “So we head over there, and I go, ‘This is a real market and these guys know what they’re doing,’ ” he says. “Little did I know, they didn’t know what they were doing.” That Erewhon, populated by naturalist oddballs, is virtually unrecognizable from what the store is now.
“The hot bar looked like jail food,” Josephine recalls.
“It smelled,” adds Alec. “I walked in and was so mad. I was like, ‘I want Fruity Pebbles!’ They only had granola and healthy stuff.”
Undeterred, Tony made an impulse decision to purchase the original Erewhon, right then and there. He knocked on the manager’s office door until he was granted an audience with its then owner, Libby DeSilva, a hairdresser who’d inherited the operation from her husband, Tom DeSilva, who bought the store out of bankruptcy in 1979.
“She was running the business for eight years on a pipe dream,” Tony says. “Not to say anything negative about hairdressers, but a hairdresser does not understand the retail grocery business.” Six months later — the deal closed April 1, 2011 — the Antocis owned Erewhon. When they took ownership of it, it was averaging weekly sales of $180,000. “Today, our store average is $900,000,” Tony says. “But don’t write that down.”
Though actors like Lily Collins (far left) and Andrew Garfield have become synonymous with Erewhon, patriarch Tony says he hasn’t “watched 20 movies in my lifetime.”
Bauer-Griffin/GC Images; 4CRNS, WCP/BACKGRID
***
For better or worse, the COVID-19 pandemic accidentally produced the world’s first celebrity smoothie. “Celebrity” might be a stretch — it was the brainchild of a popular TikToker named Tinx. “I moved to L.A. in 2019 and found Erewhon to be a happy place,” says Tinx, who has amassed 1.5 million followers addicted to her funny takes on popular culture and dating advice. “I would get a juice or some of the amazing hot bar food, and I would sit there and I would people-watch.” Because it was deemed an essential service, Erewhon continued to operate throughout the pandemic, its stores becoming one of the few socially acceptable gathering spots. “Going to Erewhon once a week was the biggest treat because it was the only human interaction I was getting,” Tinx says. “I have a very emotional bond with this store.” In February 2021, Vito asked Tinx whether there was anything they could do for her to thank her for all her TikTok content, which he noticed had been driving sales. “I said, ‘I know this is really weird, but I would love to have a secret menu item [named after me].’ ” And thus the celebrity smoothie was born.
Back then, the cups didn’t have the familiar Erewhon logo printed on them. (Look closely and you’ll notice a hidden leaf in the R.) But smoothie innovations soon followed. Influencer Marianna Hewitt, working with Jason Widener, who runs the company’s tonic bar program, devised a smoothie that would pop on social media. “I loved their smoothies, but they aren’t always the most beautiful things,” Hewitt says. “I thought, ‘Why don’t we make it not only delicious and healthy, but something really shareable and beautiful?’ ” The result, Marianna’s Coconut Cloud Smoothie ($17), came in a swirling array of blues — that’s spirulina — and blew up when it launched in March 2022. Not long after, Bieber herself reached out to design a smoothie, which became the biggest seller ever. Erewhon still sells 12,000 a week (that’s $864,000 a month in Hailey Bieber smoothie sales alone).
“Everyone wants it,” says Alec of the smoothie collaborations. “It’s like a check mark on Instagram now. It verifies the person as a mega-influencer, in a way.” The influencers get a $1 royalty per smoothie that they are encouraged to donate to charity. Erewhon throws another $2 per smoothie to the cause. The company also donates any unsold prepared foods at the end of each day to the Midnight Mission on Skid Row.
Those expensive smoothies, it turns out, are better marketing tools than profit earners: Most of the cost goes toward the pricey mix-ins and manual labor. (Anyone who’s observed an Erewhon tonic bar at rush hour knows how it can feel like a smoothie sweatshop; employees are paid anywhere from $18 to $30 an hour.) A trade secret: The smoothies are made in special industrial blenders that can mix six at a time. Each blender costs $2,000.
The next frontier — one that Erewhon so far has navigated sparingly and successfully — is in fashion and product collaborations. The latest, brokered by Studio Peripheria and overseen by Alec, paired Erewhon with Cactus Plant Flea Market, the secrecy-enshrouded streetwear label that specializes in primary colors and Muppets-like visuals. That collaboration, which included a capsule collection and a $22 rainbow-swirl smoothie in special printed cups, was so popular, it crashed the company website. In stores, they sold 20,000 smoothies in one week.
“There’s different ways to do this whole influencer thing,” says Alec. “We’re a marketing machine right now, and people and brands know that. The top of the top — think of the top five brands in the world — they all want to do something with us. I’m in a position where I’ve got to really pull the right levers.” The next lever: a partnership in December with a luxury brand. “We need people to understand that we’re not just a grocery store. It’s something you buy into,” he says of the Erewhon brand.
To his dad, however, the markets are the thing. Tony was highly strategic in choosing their locations, zeroing in on L.A.’s most high-income areas, and he has expanded the company at a clip, opening six of the stores in just the past four years: Pacific Palisades, Silver Lake, Culver City, Studio City, Beverly Hills and now the Pasadena mother ship.
Each store has its own vibe, says Alec: “Beverly Hills is kind of touristy, Venice is beachy, Palisades is families, Silver Lake more edgy.” How edgy? A 2022 viral photo captured a dominatrix leading her slave — in a leather dog mask and on all fours — through the store by a leash. The couple was asked to leave.
Says artist (and Erewhon fanatic) Alex Israel: “It’s the quintessential L.A. experience” — and one whose celebrated smoothies vary in price, based on ingredients and celebrity endorsements.
Photographed by Maggie Shannon
Tony shrugs off criticisms that the company caters only to the affluent to the exclusion of the 99 percent. “It doesn’t bother me because it is true,” he says. “We are catering to the affluent. But only because the raw ingredients cost so much more that unfortunately it puts certain demographics out of reach. But we shouldn’t be shamed for that. Why should someone not be able to eat organically because it’s not for the masses?”
But Erewhon turns no one away, and if you have $7 for a pizza slice — or even $18 to splurge on a smoothie — the lifestyle is anyone’s for the taking, if for only a little while. Says Israel, “Erewhon’s significance in the culture reflects both a millennial and Gen Z shift in spending, from material goods toward experience, and a shift in desire, from designer clothes toward designer bodies.”
Maybe that’s why the profits keep rising. During the pandemic, Erewhon sales increased 30 percent, according to Tony. They’ve increased another 30 since then. “That’s because of store growth,” Tony says. “Our same-store sales are up 18 percent year-over-year.” As for further expansion, his targets keep moving: “When I had the one store, I kept saying my goal is five. And when I got the five, I said, ‘My goal’s 10.’ I’m now at 10. I believe my goal is 20, but every time I get to that number, I’m doubling it.”
There has been noise, much of it driven by wishful thinking, about an upcoming New York location. It’s not happening — at least not yet. The company just invested $30 million in a 100,000-square-foot, state-of-the-art processing facility in downtown L.A. Referred to internally as the commissary, it’s where all the soups, juices, sandwiches and prepared foods will be made fresh each day. And the Antocis want to maximize their investment.
Says Tony, “Because we’re building such a big facility, we’re thinking maybe Arizona or Las Vegas. This commissary kitchen is a huge development. And so I have to make sure that I’m pushing enough business in there — or it’s not going to really pay for itself. A store in New York won’t do anything for this commissary.”
“Would you ever consider selling?” I ask.
“Not today. ‘Never’ is a strong word. There’s a tremendous amount of value in this business. But can this guy handle it?” he asks, gesturing toward his eldest son. “Maybe he can. We’ll see. And he’s got two other siblings — why him? Just because he’s the oldest? Why not the middle? Why not the youngest? It’s going to be a bit of a tug-of-war. And as long as I’m around, I’m going to be driving from the back seat.”
“This really is Succession,” I note.
“It’s hard love,” Tony says. “He’s got to prove it. And that’s not an easy thing.”
“You don’t really have to read the ingredients,” says Josephine Antoci. “We do all that for you.”
Photographed by Maggie Shannon
This story first appeared in the Oct. 11 issue of The Hollywood Reporter magazine. Click here to subscribe.
Rooster Teeth has moved some of its popular content, including most Red vs. Blue seasons, off the YouTube platform entirely and onto its own website. Rooster Teeth senior writer and showrunner for RWBYKerry Shawcross posted a video on Thursday announcing the change, explaining that “YouTube revenue is just not cutting it for us right now.”
Shawcross said Rooster Teeth also moved Camp Camp to the site, where episodes will continue to be ad-supported and free to watch. He added Rooster Teeth gets “approximately 5 – 10 times more value” from ads it runs on its own website, adding that “animation’s hard and it’s expensive.”
He didn’t say specifically what was moved or when, but multiplethreads on Reddit from the second half of September say that most of the Red vs. Blue series appeared to have disappeared from YouTube.
CBC has commissioned an unscripted paranormal comedy series from Blue Ant Studios.
Ghosting with Luke Hutchie and Matthew Finlan (8 x 30 min.) is created by the titular duo, and was filmed …
Family will break your heart and bruise your heart and mend your heart like no one else can — not always in that order, and sometimes all three at once. In his exceptional, happy-sad-funny debut film “House of the Seasons,” Oh Jung-min creates a beautiful tapestry of intimate sprawl, as three generations of a meddlesome, quarrelsome, loving Korean clan experience all the colors of familial life while the hills of their village home phase from lush green to copper and russet to stark, snowy white.
Through clean bright clouds of clearing steam, we’re invited into the small Daegu Village tofu factory owned and run by the Kim family. Hae-sook (Cha Mi-kyeong), the careworn, efficient wife of the factory’s flighty current boss Tae-geun (Oh Man-seok) is taking special care with this batch, as tonight it’s to be part of their Jesa ceremony — an annual ritual commemorating the spirits of dead ancestors. Back at the nearby house, her newly pregnant daughter Mi-hwa (Kim See-eun) declares the fresh tofu delicious. But it does not pass muster with Hae-sook’s formidable mother-in-law Mal-neyo (Son Sook) who samples a sliver with a connoisseur’s discernment and declares that Hae-sook used “too much brine.”
It’s a hot summer’s day and, toiling over a frying pan inexpertly making savoury pancakes for the feast, Mi-hwa begs her grandmother to turn on the air conditioning. In response, Mal-neyo clicks the fan to a higher setting. Luxuries are not to be wasted, and certainly not, it is implied, on the working women of the family, nor their husbands idling in an adjoining room. They are all waiting for an arrival that means more even than the ritual itself, summed up when venerated Grandfather Kim (Woo Sangjeon) glances at his assembled brood and asks impatiently “Where is Seong-jin?”
Seong-jin (Kang Seung-ho), the treasured only grandson of the family, lives in Seoul pursuing his acting career, and is at that moment throwing up in a taxi en route. He claims it’s carsickness, but his father Tae-geun cackles that he’s not able to handle his drink. Surly and slouching, the way we all are as young adults when dragged by duty back to our recently fled childhood homes, Seong-jin does however perk up when he sees his doting grandmother. He gifts her a novelty karaoke microphone, which she immediately uses to announce “Seong-jin is here! Seong-jin is here! Turn on the air conditioning!” Aside from all its other loud and quiet pleasures, “House of the Seasons” fields an unusual take on the pressures and stresses of being the favourite child, a status that is Seong-jin’s blessing and his curse, even as, over the course of a year that will encompass two more trips home in the wake of his beloved grandmother’s sudden death, he gradually becomes deserving of it.
There is no hand-holding here and no big exposition-drops that explain the characters’ backgrounds. Instead, with remarkable skill for a first-feature writer-director, as the seasons change and Mal-neyo’s death sows division in the family over the whereabouts of a contested bank book, Oh rewards the attentive viewer with little plosive puffs of revelation that emerge the way they would in life between people who already know each other’s stories: in a stray sarcastic comment or a late-night confidence or a drunken argument. In such a manner we discover the nature of the accident that put Seong-jin’s uncle in hospital long-term, as well as the undercurrents of disappointment that flow between the men of the family with regards to running the factory. And in a moving scene between grandfather and grandson, it’s also how we learn why, when going to bury Mal-neyo in the family plot, there were no other Kim remains to be found.
The delicacy of this approach, creating an intricate lattice of connections that is sturdy yet invisible from some angles, like a spider’s web, pulls Oh’s film back from melodrama or mawkishness. The restraint is mirrored in DP Lee Jinkeun unobtrusively superb photography, which is sparing in its use of close-ups, lending even the most torridly emotive moments composure and dignity. As a whole package, Oh’s film is most reminiscent of the work of the late Taiwanese master Edward Yang (“Yi Yi”), and there can be little higher praise.
As the gentle mystery at the root of the increasingly intractable recent schism is revealed, like so many of the Kims’ mysteries, to result from a touching, if misapplied, gesture of intergenerational care, the credits roll. An old man walks slowly off, to be finally swallowed up by the snowy landscape and we realize that Oh’s last act of grace is to leave the film’s year incomplete. “House of the Seasons” encompasses a sweltering summer and a vivid autumn and even if we depart on a pang of midwinter melancholy, there is shimmering, restorative comfort in knowing what comes next.
Are the Mutants coming to the MCU soon? All signs point to yes.
We’ll discuss this upcoming X-factor in the latest MarvelBlog News.
A Mutant Plan Emerges
Here’s a statement that proves how much the pandemic messed with the concept of time.
Disney released Dark Phoenix in 2019, which was just four years ago.
Film executives recognized the film was a clunker and hid it in plain sight.
Source: Marvel Studios
In April 2019, Marvel released a little movie called Avengers: Endgame.
On June 7th, 2019, Disney released a former Fox production, Dark Phoenix.
Ostensibly, this title concluded the Fox X-Men franchise, but it was such a debacle that few noticed or cared.
Source: Marvel Studios
Disney had intended this strategy all along, anticipating that Endgame would suck up all the comic book oxygen that summer.
Still, at the 2019 D23 Expo in Anaheim, Disney confirmed Phase Four’s timeline.
Also, Kevin Feige and his team indicated that other projects like Fantastic Four and X-Men were in the early stages of development.
Source: Marvel
At the time, plans called for Marvel to assemble an entirely new team of Avengers.
Sam Wilson’s Captain America would lead a squad featuring younger versions of Black Widow and Hawkeye.
Also, characters like Shang-Chi and Ms. Marvel would join the squad as well.
Source: Marvel Studios
Eventually, the updated Avengers lineup would anchor one or two movies, the de facto sequels to Endgame.
Once that happened, Marvel planned to debut the First Family, the Fantastic Four.
Once all those characters had carved out their roles in the MCU, Marvel executives believed they could start over again with X-Men.
In other words, early plans called for Marvel to kick the can down the road on The Mutants to wash away the stink of failure of Dark Phoenix.
Even that plan came with flaws. Remember that New Mutants debuted only three years ago.
The 2023 Change in X-Plans
Source: Marvel/ Fox
Understandably, plenty changed during the pandemic.
At multiple points, New Mutants wasn’t even slotted for theatrical release.
Eventually, Disney took the approach of, “What’s the worst that could happen?”
Photo: 20th Century Fox
The answer proved to be, “New Mutants could earn less than $50 million worldwide.”
Still, the film’s obscurity worked in Disney’s favor. It could reboot The Mutants without fans decrying the loss of Anya-Taylor Joy.
If nobody knew the actress had played Magik, they’d never miss her, right?
Photo: CBR.com
Frankly, that’s the reality for plenty of X-Men fans, even the loyal ones.
Fans remember either 2016’s X-Men: Apocalypse or 2014’s X-Men: Days of Future Past as the most recent Mutants movie.
Even if Marvel started filming another X-Men film today, it wouldn’t debut for nearly a decade after the last (memorable) one.
Meanwhile, the MCU has taken a media drubbing for some lackluster recent titles like Secret Invasion and Ant-Man and the Wasp: Quantumania.
Fans are starting to lose patience with the MCU’s struggles during Phase Four and Phase Five.
This knowledge has forced Marvel executives to take a different approach regarding the MCU’s future.
Photo: Pinterest
Frankly, Disney needs more hits. And even when Fox produced some lousy X-movies, most of them made a lot of money.
Marvel producers and Disney bean counters have spent the Hollywood strikes thinking about what comes next.
Wisely, everyone agrees that it’s (well past) time to plan the integration of The Mutants into the MCU.
What’s Happening with X-Men?
Source: Marvel
Oddly, Deadpool 3 will work as the jumping-off point for these changes.
Nobody at Marvel is even trying to deny the rampant rumors regarding the film’s plot.
Deadpool 3 will reunite many of the featured players from Fox’s Marvel films save for the characters from X-Men: First Class.
Cosmic Book News
Most importantly, Hugh Jackman will return as Wolverine and, if reports are correct, he’s not back exclusively for this film.
Instead, Jackman will play Wolverine again in additional MCU titles, possibly up to the next Avengers movie.
While other reports suggest that Disney has already chosen its new Wolverine, those rumors don’t necessarily conflict.
Comic Book
Still, Disney and Marvel are clearly ready to make some money, and the ace in the hole is an X-Men title.
That film with Jackman as Wolverine is all but guaranteed to earn $1 billion in box office and much more if it’s good.
So, Marvel is ready to take meetings about Disney’s first X-Men production.
Source: Marvel
The idea is that once Marvel chooses the people behind the cameras, the writer(s) and the director, it’ll start casting.
In that regard, an X-Men movie isn’t that far behind Fantastic Four, which still hasn’t announced its cast.
We think we know who is writing and directing. Until principal photography begins, those things aren’t guaranteed, though.
Source: Marvel
The belief is that Marvel will hire a writer in early 2024 and go from there.
Since we’re already in October, the actors remain on strike, and Hollywood typically shuts down in December anyway, I believe that timeline.
The most pressing question as we head into 2024 is which Mutants will comprise the MCU’s X-Men team.
Photo: Marvel Comics
Then, we get into casting those roles, which could take several months.
Still, the long-hibernating project is finally ready to move forward, which is all we’ve wanted to hear, right?
Marvel Miscellany
Image: Marvel
This week’s other big story is financial in nature.
During the pandemic, I often referenced Disney’s struggle to get Marvel films exhibited in China.
When CEO Bob Iger returned to Disney, the relationship dethawed after a frosty couple of years.
Image: Marvel
In 2023, Disney has had better luck with its Marvel releases screening in China.
Now, Disney and Marvel have scored a coup. The November release of The Marvels will debut day and date in China.
Just as importantly, that release date occurs during a Chinese national holiday called Golden Week, which demonstrably boosts box office totals for all releases.
Image: Marvel
While the news may not seem significant, it’ll add tens of millions of dollars to the film’s opening weekend box office.
That may be the difference in how people will report the film’s performance.
In terms of actual dollars, Marvel’s profits on Chinese releases are minimal, but few reporters understand this fact when reporting box office.
Image: Marvel
Meanwhile, director Scott Derrickson detailed his rationale for leaving the Dr. Strange sequel. Here are his thoughts:
“We had real creative differences. You know, the movie I wanted to make and how I wanted to make it was different.
“It was just increasingly obvious that we were pulling against each other.
Source: Marvel Studios
“And that’s how you make a really bad movie, I think.
“When the producer or the studio and the filmmaker are making different movies, you end up with a monstrosity and, you know, that’s why I had to bounce.”
Source: Marvel Studios
That’s a perfectly reasonable explanation and a rare example of actual creative differences causing a director to leave a project.
Finally, I’m saving most Loki season two discussion for next week’s article, but what did you think about the premiere?
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Superman: Legacyis continuing to push through development at DC Studios, here’s everything we know so far about the release, plot, cast, and more.
As James Gunn and Peter Safran prepare to launch their new DCU, the reboot is set to officially open with Superman: Legacy, a brand-new iteration of the Man of Steel written and directed by Gunn himself following the exit of Henry Cavill.
Superman Legacy Release Date: When Will It Come Out?
DC
DC Studios co-CEO and Superman: Legacy director James Gunn called his upcoming Man of Steel movie the “true beginning of the DCU,” meaning the film will be breaking new ground when it arrives on July 11, 2025.
Superman: Legacy isn’t the only DC movie confirmed to hit theaters in 2025, as it will officially be followed by Matt Reeves’The Batman 2– an Elseworlds tale taking place outside the DCU – on October 3.
Despite being called the official beginning of the DCU, Superman: Legacy isn’t expected to be the first release of the new universe, with the animated Creature Commandosseries set to arrive on Max before then at some point in 2024.
Filming on the movie is planned to begin in January 2024, so, provided the actors’ strike is also concluded by then, Superman: Legacy ought to make its 2025 date.
Superman Legacy’s Cast & Characters: Who Will Appear?
The Direct
Heading up Superman: Legacy and taking over the role of Clark Kent from the DCEU’s Henry Cavill is the 30-year-old David Corenswet. The Philadelphia-born star is best known for his performances in Pearl, The Politician, and Hollywood.
Joining Corenswet as Lois Lane and the movie’s co-lead is Emmy-winning actress Rachel Brosnahan, who famously led the five-season series, The Marvelous Mrs. Maisel.
James Gunn will also be seeking actors for billionaire villain Lex Luthor, Daily Planet editor Perry White, and Clark Kent’s photographer best friend Jimmy Olsen.
While Luthor has been confirmed to appear in Superman: Legacy, he is not expected to be the movie’s main antagonist. The actors reportedly in contention to portray the DC villain are Bill and Alexander Skarsgard, along with Nicholas Hoult.
The confirmed cast of Superman: Legacy so far can be seen below:
David Corenswet – Superman
Rachel Brosnahan – Lois Lane
Nathan Fillion – Guy Gardner/Green Lantern
Isabela Merced – Kendra Saunders/Hawkgirl
Edi Gathegi – Michael Holt/Mr. Terrific
Anthony Carrigan – Metamorpho
Superman Legacy Plot: What Will Happen?
DC
James Gunn has confirmed Superman: Legacy will be a “workplace origin story,” however, the movie will not be an actual origin tale for the Man of Steel, as the director stated, “I think we’ve seen his origin enough in film at this time!”
Following the recast of the 40-year-old Henry Cavill, Gunn confirmed the Man of Steel will be the same age as David Corenswet, placing him around 30 years old.
The movie’s official synopsis confirms how it will explore both his “Kryptonian heritage” and “human upbringing,” noting his aristocratic alien birth and his youth growing up as a Smallville farmboy:
“‘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.”
The filmmaker teased before how he will be looking to treat the characters of Legacy with “dignity and compassion” while also offering a “surprising” and “moving” emotional tale for Superman:
“I want to tell a story that treats the characters with dignity and compassion and is the best, most surprising, most moving story I can possibly tell. And if that ends up being just moving, because it’s a fun blast of a film, or if it ends up being moving because you’re sobbing, or it makes you feel that rage, or whatever it makes you feel, I’m good with all of those things as long as it works.”
While unconfirmed who Superman will face off against, there have been teases that point toward Brainiac being Legacy‘s main villain, with the iconic Lex Luthor also set to feature in an unknown capacity.
DC’s New Superman: Why Isn’t Henry Cavill Returning?
DC
As the DCEU and the SnyderVerse have a sizable cult following, the news of Henry Cavill’s recast came as a blow to many. The announcement hit particularly hard given the British star had only just returned to his Superman role in October 2022 in Black Adamafter a five-year absence since 2017’s Justice League.
“Among those on the slate is Superman. In the initial stages, our story will be focusing on an earlier part of Superman’s life, so the character will not be played by Henry Cavill.”
Reports claimed Gunn was looking at actors as young as 25 for Superman, with the top four reported candidates – David Corenswet, Tom Brittney, Nicholas Hoult, and Andrew Richardson – ranging from 30 to 33 years old.
Despite opting to recast Cavill’s Superman, Gunn teased he had a “great meeting” with the actor where they discussed “a number of exciting possibilities” for him at DC in other roles:
“But we just had a great meeting with Henry and we’re big fans and we talked about a number of exciting possibilities to work together in the future.”
Aim assist has been nerfed in Modern Warfare 3, according to streamers such as Repullze and Shotzzy. During the COD Next 2023 event, steamers and Call of Duty League players alike have been able to test out MW3 live for their audiences. While they have been hands-on, there seems to be a noticeable change in the way that aiming works for controllers.
There is no secret that MW2 has had some of the strongest aim assist in the entire Call of Duty franchise, so it was only a matter of time before changes were made. With XDefiant on the way, this is a critical time to tone down the strength of controller aim assist, and this has been reported in the tests at COD Next.
Shotzzy, one of the SMG players for OpTic in the Call of Duty League, was one of the first to comment on the aim change in his own stream. “I think we’re back bro, the aim assist actually takes skill,” claimed Shotzzy, and he wasn’t the only one to do so on stream. Repullze is another major Warzone streamer to make the same claim.
“Shotzzy noticed it, I noticed it. It definitely feels like they nerfed aim assist for sure, which is a good thing,” said Repullze. All of this is happening at the COD Next 2023 event, so many of the claims are still early and will likely need to be tested during the beta. But that doesn’t mean players can’t feel the changes. Even Scump has made the same remark about the aim change.
Overall, this is good for the health of Modern Warfare 3 and Warzone. Aim assist was clearly overtuned in MW2, and nerfing the initial lock was inevitable. But keep in mind this could also feel different due to the changes in movement and TTK. Tracking is more important than ever for longer gun fights in MW3.
Dan has been writing gaming guides, news, and features for three years after graduating with a BA in writing . You can find him covering Call of Duty for eternity, action-adventure games, and nearly any other major release.
The film, directed by Nahnatchka Khan, is a romp of a horror story starring one of our favorite scream queens, Kiernan Shipka, as a stubborn teenager who trips back in time and decides to stop a series of infamous murders. She finds herself befriending a younger version of her mom, all while trying to identify the slasher before he kills again.
We spoke with Aussie director of photography, Judd Overton, via Zoom ahead of the film’s release. His advice is super specific and helpful, so enjoy it below!
Totally Killer – Official Red Band Trailer | Prime Videowww.youtube.com
Editor’s note: this conversation has been edited for length and clarity.
No Film School: This a fun Halloween film to have going into the season. What attracted you to the project?
Judd Overton: It was a lot of fun to make as well. I had worked with a director, Nahnatchka Khan, a number of times on television, and that was her main background. She’d done one feature film before, Always Be My Maybe, but we had a great relationship on a couple of projects, Young Rock, and I worked with Fresh Off the Boat a little.
When the opportunity came up to do a horror/comedy with her, I was like, this is incredible. We kind of just jumped into it. I mean, I guess the real question was what is this genre? What is this sort of mashup and how do we find a good tone? Nahnatchka was really great about and has always been really great about collaborating. It felt like a real project that we discovered together, discovered the look and the style of it … I think the tone was a really important thing for Nahnatchka from the start.
How do you balance really great comedy and really bring people in with the comedy, then still deliver on all the gore and all the splatter, and really pay tribute … I mean, Blumhouse obviously involved in this project. They have a great heritage, and some great horror fans out there. So we had to tick the box and make sure we were aligning those ideas with that genre.
NFS: So you mentioned the look, and that was going to be my next question. What were your visual inspirations as you were settling on that look and finding that tone?
Overton: When I get the script, I’ll read it a few times first and see what jumps out at me. See if any inspiration comes from other films, photography, or anything else comes to me just when I’m reading it. I like to, even before I’ve spoken to the director, I like to see what comes off the page and inspires me there.
Then, once I started talking with Natch, we went through, and there are really some obvious references in the script. They’re referencing Back to the Future, and it’s a very kind of postmodern film in that it is quite self-referential. It refers to all the kinds of genre things, the tropes that have gone before. That stuff was obvious.
The less obvious stuff, and the kind of thing that I was hoping to discover or that we spent the most time on was how to differentiate time periods, and how to really make it clear to the audience, especially when you start popping back and forth between 1987 and 2023. We wanted there to be a film language that didn’t bump people, but instantly let you know that you’re in a different place, a different time so that once you’ve established it, you don’t need the time machine device to go back and forth. You can really just, in a cut, tell people where they are. So that was something that we really workshopped.
I guess what happened was we started exploring twofold. Because 90% of the film happens in the ’80s, we sort of really need to nail what that look was. We knew that we had a big ensemble cast, so there were some other requirements there from the script and from the schedule that we had to be aware of and had to make sure that worked. We were less worried about shooting big group scenes and things like that and shooting quickly because we have done that in television. We didn’t want to rely on the television way of doing things. We really wanted to stylize this and make it a movie, make it its own thing. But we were less concerned because if push came to shove, we knew how to cover a scene and throw more cameras at it, and get our days that way.
So it was really about, “Okay, what does the 1980s look like for us?” Nahnatchka … we’d watched a lot of stuff, and some early horror movies as well. I think the first original Halloween was, I mean, has obviously been a reference for a lot of people, but it was a big reference for us, just a simple way of doing things and not forcing a look too much.
The main key reference for us for the ’80s actually turned out to be John Hughes films, so Breakfast Club, Pretty in Pink, that kind of thing. We really wanted to set an innocent tone, not too forced. There was some discussion going back and forth about do we want to add grain or do we want to degrade the image in some way to make it feel retro. Because so much of the movie happens in that world, we want to make it really accessible. We don’t want to put a patina across the screen that separates the audience from the film. We want to make it really easy for them to watch, and we don’t want to go super colorful into that Stranger Things world, or we don’t want to sort of lean into that either. We really had to find our own way in … The John Hughes approach is really a comedy approach, but it is quite muted. It’s quite neutral, but it’s also warm and inviting. I guess that was our go-to. That was sort of our guide for the ’80s.
Now, within the ’80s, obviously, you have a lot of different scenes. They end up on a Gravitron, the quantum drop. Those rules are going to go out the window once you get into those really saturated worlds. Each world, the time machine itself obviously has its own lighting. We worked hard with our department to build in practical lighting for those sets and those environments so that they would then take over and be their own thing. But as long as we had the rule and we’d always keep coming back to the rule, I mean, as you know, rules are meant to be broken, so you start out with that guideline and it gives you a good way into the text, but then you divert from that when you need to.
Julie Bowen as “Pam Hughes” in the horror-comedy, TOTALLY KILLER, a Prime Video release. Courtesy of Prime Video
NFS: So if John Hughes was your approach to the ’80s, what was your approach to the present-day?
Overton: We kind of reverse-engineered it from that idea of flipping back and forth between time periods. If we went with reduced contrast and warmth in the period stuff, we kind of went towards more contrast, slightly cooler, slightly more saturated in the contemporary time periods.
We didn’t want to do a Soderbergh, kind of Traffic. Mexico is burnt orange and America is blue saturated wash. We explored it through lenses, [that] was a big thing that we spent a lot of time on, lenses. Originally, we were looking at potentially shooting anamorphic for the period stuff. But then basically again, once we got to the practicalities of it, we knew we were going to shoot on multiple cameras, and to get matching vintage anamorphic lenses, was starting to get both costly and also labor intensive.
There were days when we had three cameras shooting, and had splintering off to get establishers and other bits and pieces, so we wanted to make sure that we could handle the amount of gear. We didn’t want to overcook it. We needed to have two sets of lenses for the different periods and we were jumping between, so we really wanted to keep that lean, so what we ended up doing was going with some slightly vintage lenses.
We had some Gecko glass, which are a German prime lens manufacturer, and they basically rehouse. It’s like a K35, or there are a few different lenses that they repurpose, but they’re very much, for all intents and purposes, they’re a modern lens, in terms of practicality, and putting them on the camera, and switching between cameras. They behave like a modern lens, but the look is slightly vintage. I’d say it’s just slightly lower contrast, and you can get a little bit of flaring. You get a little rainbow flare from highlights, which was quite nice for just a hint of nostalgia for our ’80s stuff.
We did actually end up using an anamorphic lens. We used a Kowa 32mm for just a couple of shots in the film. The main one is when Jamie, Kiernan [Shipka’s] character, first steps out of the time machine and into the ’80s, and we do a big 360 rotate around her on Steadicam, and using this 32mm anamorphic lens, and it is just super wonky, and the edge is all distorted, and it’s just like, “Wow, where am I?” I think she even says, “What the f*ck?” Or something like that.
Yeah, so that was a lot of fun to play with. But again, consistency and making sure we had the right lenses for that was super important. Then conversely, in the ’20s, we went with the SIGMA primes, which are very much, I mean, they’re quite an affordable lens, which is good, but they’re styled after the master primes. I feel like they’re very clean, neutral, and have good contrast. That was just instantly a great juxtaposition. You put those lenses on, and you already feel that there’s a difference between the two worlds.
NFS: What was the most challenging sequence to shoot?
Overton: I mean, every scene’s a challenge, and especially as we know, it’s time that’s always your enemy. Also, we shot in Vancouver over the summer, and the whole film is set at night. We had some built-in challenges there. Luckily the crews are fantastic, and they’re used to the nine months a year they get a rain.
Condors and made tents so we could start shooting when it was still daylight. Then as soon as it was shootable dark, we’d pull all the gear away and start shooting our wide establishing shots in any coverage looking in the other direction. We just had this kind of system down and really great. Troy [James] Sobotka was my grip up there. He was really fantastic, just to help organize all that and keep it running to military precision.
So I think aside from those general [things], that just became a process. So we had to deal with that. I think the most challenging or even the most exciting stuff was the set pieces and the action sequences that we did. We spent a lot of time on those, and we really planned them out so that there was almost no way we could fail.
We just wanted to make sure that we had exactly what we needed for those so really early on, we broke down those action sequences. Everything from the first kill, the first attack, which is basically with the mom in the house and she’s been defending herself. She’s been doing self-defense classes, preparing herself for just these moments, so it really was a sort of badass fight, and we really wanted her to feel like she knew what she was doing.
To have all the scares, it’s the first time we’ve sort of seen the killer, but we also wanted to give it a real sense of style and a real hopefulness that you really think that the mom’s going to be victorious. There’s a number of beats through that … That’s just like, “Wow, she’s getting it. This is going to be a short movie.” Then obviously, making it really, really gory when she finally bites it. That was a great one to shoot. Again, that’s shooting interior, exterior, all shot on location, big tents, ending up having a crane and remote head sort of pulling out the door, and then the scene transitions that’s sort of our title sequence, and then transitions into the cops have all arrived and the aftermath of the death there.
Olivia Holt as “Teen Pam” in the horror-comedy, TOTALLY KILLER, a Prime Video release. Courtesy of Prime Video
NFS: Can you talk about that Gravitron sequence? I think that is a really compelling fight, too.
Overton: When I read that off the page, I was just like, “Wow, I’ve never seen anything done like this. A fight sequence in a Gravitron is going to be incredible. How do we do it?”
So again, we really just broke it all down, what the beats were. This is even before we had stunts involved. Nahnatchka and I then went out to a Gravitron. We found one. There was a county fair out in Vancouver, and they ended up actually being the people that we hired the Gravitron from. We went out and we just sort of blocked through it, or just really loosely walked through it with myself and her, a couple of the other crew just to see if it was even feasible. It’s actually quite a small space inside these Gravitons. Also, they’re very highly engineered, and they have safety checks, and before they run each time they have to be signed off and licensed. It’s quite a process to shoot in one, let alone if you need to rig things and pull things apart. We were really limited, in terms of what we could do there.
In fact, to the point that we had a full conversation and went down the whole path of, “Can we build this on stage? Can we build just half of this on stage? What’s the VFX cost and what’s the cost of the set build?”
We really explored all the options, but it just wasn’t viable to do that build. What we wanted to do in there really used every quarter of square foot of the place, so we just wanted to make sure that we could actually fit the crew in there. We sort of went through and just took stills, and took a little bit of video, and just kind of worked it through and blocked out a couple of the moves. We brought in the stunt guy.
So we would’ve gone out two or three times to the actual real Gravitron before we got it, and just sort of worked out. Okay, what is it going to look like? How would the beats go, and what are going to be the problems? Obviously, we couldn’t shoot inside with it spinning. The centrifugal force would push all the cameras and all the crew out to the edges so the only place that we could shoot while it was spinning would be from that center box, and that’s super tiny. There’s only enough room for the operator. So basically, what we ended up doing after we storyboarded after we’d handed it over to the stunt team and they’d sort of preview it in a different location, they’d sort of worked out boxes and worked out the blocking and what needed to happen.
Then we got the Gravitron. I think we ended up negotiating to have it for a week. In that week we had to shoot the exterior of it in our setup, in our carnival setup at Billy’s Boardwalk. Then we also had to wrap it, move it to inside of a nearby stage, and set it up. We were allowed to remove one panel, I think, and then we got some fake beds. We got some sort of rubber beds that we could put over that hole so that it looked like there was no hole there for when we needed to shoot 360 [degrees]. we also made some other beds to fit over the back of the door because usually when the door closes, it just has these big hydraulic pipes on it. We also wanted to have, for one of the gags where the young Pam gets sucked out at the door, we wanted it to look like she’s climbing around the beds and when the door opens, you don’t know where it’s going to open, and so she gets sort of pulled out, and then the killer’s mask gets sucked out with it. Yeah, so that was important to have it look like a 360 space with no edges and no walls, and you don’t really know what’s going on in there.
Then we had to work out rigging. Simon Burnett was the stunt coordinator on the film, and he did a great job with his guys because essentially, they couldn’t attach anything permanent anyways to the structure. They just used little pullies, and we put one piece of track in for the moment when the killer kind of walks around the walls of the Gravitron, walking towards Pam to get her. So yeah, we just had a lot of fun and just played with all the gags that we could do to make it seem like the Gravitron was spinning, to get that sense of movement.
James Jackson was my gaffer up in Vancouver. He was fantastic. We ran everything through dimmers, so we were using LEDs a lot, just for the speed and being able to make the changes. But because it’s a Gravitron period device, we couldn’t really use the kind of tools you would usually use, so he actually found some LED ribbon that had a rubber casing on it, and it looked a lot like the old neon strips, so we kind of used it like that. We set up a chase going around that we could spin at different speeds to kind of make it feel like we were ramping up, ramping up.
Then, with the grips, we replaced the floor. We built a slightly elevated flooring, just to flatten it all up so that we could push our dollies around in there. For the big 360, we got a Scorpio head in for that because we wanted to actually take the camera to 90 degrees as the killer started walking around. We see him stand up. He basically stands up and pushes his body away from the wall. That was one rig. Then we switched him onto the track and he stood up again, and as he stood up, the camera rotated to 90 degrees, so it looks like he’s standing upright, but we’re pulling back around the wall, and we do a full 360 around the wall and end up back on Jamie’s character as she starts crawling down the wall to try to get to the control box. That was a really fun shot.
NFS: This is what the magic of filmmaking is to me, all these little details and how you pulled it off.
Overton: Revealing the magic tricks.
NFS: I also just feel really romantic about the fact that you saw it on the page, and then it’s realized.
Overton: It’s really great. We were happy to make compromises, and Natch was really happy to do script changes or work on the other pieces of the story in order to save and make these set pieces as cool as they could be.
NFS: What advice would you give to someone wanting to get into cinematography?
Overton: Yeah. I mean, I think there are so many ways to do it these days. I mean, I was fortunate in that I got to go to film school in Australia. I went to the National Film School, but I’d been working in the industry for 10 years before that as a focus puller, a camera assistant, and a clapper loader. All that time, I’d been making little short films. They’re pretty terrible. Taking photographs, which I still love doing. So I think there are so many ways to do it.
It’s really hard to find one path, and each person has to find their own path. Some people come from a technical background. Some people start down that path and end up finding out that they actually love the technical side, and that’s where they are best suited. Other people find out on day one, no, this isn’t for me, and start shooting straight away.
So yeah, I think there are so many paths, but I think generally the more you can read, the more you can research, the more you can build up … your cohort, basically. Those are the people, whether they’re acting in helping out funding your short films, or that turn into the producers or helping you make the connections later in your career. I think it’s so important at all stages of the business and of this industry to have people around you. It’s a collaborative art form. I mean, I’ve actually been incredibly lucky. I’ve shot a lot of documentaries as well, which is a small crew, and you can go out and make stories with just yourself or a small team, but I think it’s always about relationships. Building a cohort around you, I think is the most important thing.
NFS: Is there anything you wanted to bring up that I didn’t ask?
Overton: I’ll just say I had a great B camera operator, Jeff Zwicker up in Vancouver, who was fantastic. He really helped out a number of times. We had scenes that, for example, the dodgeball sequence that we couldn’t end up shooting all of it ourselves. We would have to shoot out our lead actors in the scene, but it was really great to have him be available to then go out and keep shooting the scene and put all the action beats together with the stunt coordinator.
Then another time we had a great, something that I was really proud of with these little murder dioramas that we came up with. We were looking at a way to tell the story of this murder podcast. We’ve all seen crime scene photos and it’s kind of a bit tropey been a bit done. I was just doing a Google search and found these little diorama projects that people were doing of kill rooms—and my internet search is a big flag on that—but it was just an interesting take on it to do these little models and dioramas. We did do photographs as well, but then luckily, Nahnatchka and Liz Kay are her art director and production designer, and they’d actually done some diorama stuff back on Fresh Off the Boat. That was a Christmas theme, so a little bit different from what we ended up doing. But it was really fun to make these.
I think they were quarter-size models with model cars and model cabins in the woods. We set up a sort of macro stage and had that running parallel to our Graviton work, actually. Jeff was over there working with the grips, and they sort of set up. They’re using probe lenses and doing some great macro moves through these environments, sort of replicating the murders that had happened in the past. It was just a really nice, fun take on it, something new.
A24 has released the official trailer for its upcoming Sofia Coppola feature “Priscilla.”
The film is based on Priscilla Presley’s 1985 memoir “Elvis and Me,” which details personal accounts of her relationship with Elvis Presley. Flashes of their first meeting in Bad Nauheim, Germany, in 1959 to their 1967 Las Vegas wedding and birth of their daughter, Lisa Marie, are teased throughout the new footage. The trailer spotlights some of the couple’s most iconic moments together, as well as their eventual divorce.
“Priscilla” stars Cailee Spaeny in the titular role and Jacob Elordi as the King of Rock ‘n’ Roll. The film’s centering of Priscilla’s perspective serves as a sharp counter to Baz Luhrmann’s 2022 biographical music drama “Elvis,” which starred Austin Butler and Olivia DeJonge as the Presleys and went on to receive several Oscar nominations.
“Priscilla” received a seven-minute standing ovation at this year’s Venice Film Festival. Coppola and Priscilla attended the premiere alongside Spaeny and Elordi, as the actors were granted a SAG-AFTRA interim agreement to promote the film amid the strike. Spaeny won the best actress prize.
“Priscilla” is directed and written by Coppola, marking her first feature since 2020’s “On the Rocks.” She also produces alongside Youree Henry and Lorenzo Mieli. The film comes from Fremantle Company and American Zoetrope. A24 will release “Priscilla” in North America, with Vision Distribution in Italy, where it will become a Sky exclusive. Stage 6 Films/Sony Pictures International Releasing will distribute in the rest of the world.
“Priscilla” is set to open in theaters Nov. 3. Watch the official trailer below.
Hillary and Chelsea Clinton are now officially Emmy winners: The mother-daughter producing team was among the winners at the 44th Annual News and Documentary Emmy Awards on Thursday night.
“In Her Hands,” the Netflix documentary from the pair, won for Outstanding Politics and Government Documentary. Both Clintons will receive an Emmy statuette. They did not attend the Thursday ceremony, which did not publicly reveal who would be getting statuettes for winning projects.
“NATAS congratulates all the winners at the 44th Annual News & Documentary Emmy Awards, and welcomes Hillary and Chelsea Clinton to the Emmy community on their win for “In Her Hands” for Outstanding Politics and Government Documentary,” the organization said in a statement to TheWrap.
In the Outstanding Politics and Government Documentary category, “In Her Hands” won against discovery+’s “A Radical Life,” PBS’ “Independent Lens: Apart” and “P.O.V.: Not Going Quietly” and CBS’ “Watergate: High Crimes in the White House.” The film was also nominated for Outstanding Direction: Documentary and Outstanding Editing: Documentary. It was responsible for three of the 18 nominations Netflix received.
Released in September of 2022, “In Her Hands” follows Afghanistan’s youngest female mayor, Zarifa Ghafari. Filmed in the months leading up to the Taliban takeover in 2021, the documentary chronicles the danger, uncertainty and personal struggles Ghafari faced.
In addition to the Clintons, Tamana Ayazi, Stephen Ellis, Elaine Frontain Bryant, Roma Khanna, George Loening, Marcel Mettelsiefen, Howard T. Owens, Isabel San Vargas, Rob Sharenow, Ben Silverman, Siobhan Sinnerton and Johnny Webb executive produced the film. Ayazi and Mettelsiefen served as its directors. The winning film was produced by Netflix, Propgate, Moondogs Productions and Hiddenlight Productions.
The Hollywood Report was the first to report this story.
A man connected to Tupac Shakur’s death has been arrested and charged with murder with use of a deadly weapon, marking an unlikely breakthrough in a case that has vexed investigators since the rap icon was shot dead on the Las Vegas Strip in 1996.
Nevada police detained Duane Keith “Keefe D” Davis today (September 29), and a grand jury indicted him in the killing of Shakur, The Associated Press reports. Davis, who has long been known to investigators, has admitted in interviews and in his 2019 memoir, Compton Street Legend, that he was in the Cadillac with Shakur’s shooter. He is now the first person to be arrested in direct connection with the killing.
In court today, a prosecutor announced that Davis was also charged with the intent to promote, further, or assist a criminal gang.
Davis’ arrest and indictment follow the execution of a search warrant in Henderson, Nevada, in July, related to the ongoing investigation. (The house that police investigated belongs to Davis’ wife.) Las Vegas police have long maintained their case was hampered by a lack of cooperation from witnesses, though independent investigations have unearthed significantly more information than what has been revealed by law enforcement.
The case originates in May 1996 when Orlando “Baby Lane” Anderson allegedly assaulted Travon “Tray” Lane, associate of Death Row Records boss Suge Knight, at a shoe store. On September 7, after a boxing match between Mike Tyson and Bruce Seldon at the MGM Grand in Las Vegas, Lane told Shakur he saw Anderson in the lobby. Shakur then led an assault on Anderson that security cameras captured. He returned to his hotel room at the Luxor before departing with Knight for Club 662, where he was scheduled to perform at a charity event.
En route, a white Cadillac pulled up to the passenger side of Shakur’s car. The shooter rolled down the rear seat window of the Cadillac and fired a .40 S&W Glock 22, hitting Shakur four times. One bullet entered Shakur’s right lung, and the musician was taken to the University Medical Center of Southern Nevada to receive treatment. He died six days later after the removal of his right lung caused respiratory failure and cardiac arrest.
Anderson was arrested in a “gang sweep” one month later. Investigators interviewed Anderson and identified him as the man in the surveillance footage, but did not charge or arrest him, believing the person in the footage could not have killed Shakur. Lieutanent Larry Spinosa told reporters, “At this point, Orlando Anderson is not a suspect in the shooting of Tupac Shakur.”
There’s a moment near the end of “Libra” that I can’t shake.
It comes around the 3:35 mark, after a short drumroll silences the band, giving its leader Max Roach the floor. Then the drums hit like machine gun bullets, a raucous ratatat that’s rightfully violent. The song was released in 1965, five years after Roach’s music turned political. A Black American in the time of civil rights struggle, his work was forceful yet comforting, equal parts rage and tranquility. Roach used the beat of his drum to convey the angst of daily existence. Black people couldn’t just be: they had to be love, fire, peace and fury. Through drum solos like these, and on albums like “It’s Time” and “Percussion Bitter Sweet,” Roach fought against such living. Be present, but be aware, his music urged.
Roach cut a stately presence behind the drum kit. Adorned in a tailored suit or tuxedo, bare-faced or mustached with big glasses and a short afro, he looked regal, like a pioneer. And he was: In the 1940s, he established bebop alongside the drummer Kenny Clarke, the saxophonist Charlie “Bird” Parker and the trumpeter Dizzy Gillespie. He was the house drummer at Monroe’s Uptown House in Harlem, where he played with Bird and Dizzy using quick rhythms that prioritized the ride cymbal and bass drum.
Max Roach at Five Spot, 1976 – Beuford Smith
That style hadn’t been heard before; no one else played with such speed and vigor. After playing with cornerstone musicians like Coleman Hawkins, Bud Powell and Miles Davis, he formed his own quintet with the trumpeter Clifford Brown in 1954 and became one of the hottest players on the scene. But that was cut short; Brown and the band’s pianist Richie Powell died in a car accident two years later.
Something changed in Roach. He became bleak and his music more resistant. This approach crystallized in 1960, beginning with the album “We Insist! Max Roach’s Freedom Now Suite,” a sharp castigation of global racism and the hoodlums who perpetrate it.
Featuring the singer Abbey Lincoln, to whom Roach was married for eight years, “We Insist!” broke new terrain in Black Classical Music: Though it wasn’t the first time someone of that ilk had vocally expressed their dismay, Roach’s album didn’t flinch; songs like “Driva’Man,” “Triptych: Prayer / Protest / Peace” and “Tears for Johannesburg” examined slavery, the civil rights movement and apartheid with jarring clarity. On “Driva’ Man,” the strike of Lincoln’s tambourine simulated a whip slapping the servant’s skin. On the “Protest” section of “Triptych,” Lincoln used yelps and screams to unpack her frustration with America. A year later, on the album “Percussion Bitter Sweet,” Roach doubled down on the social commentary. Polyrhythmic drums and melodic sighs paid homage to traditional West African textures, the Black Nationalist leader Marcus Garvey, and the ongoing racial crisis in South Africa.
Abbey Lincoln and Max Roach on “Black Journal,” 1970
But it’s on the 1962 album “It’s Time” — on the title track, in particular — that Roach’s vision coalesced. The soaring vocals and propulsive drums were beautiful and seething, and sounded the alarm that the time for equality was now. I’ve always wondered how Roach could impart such emotion without uttering a word. But I think that speaks to the feeling he put into his art; the angst was so palpable that lyrics weren’t needed. “I’m just trying to describe what I see and experience in my lifetime being a person of color,” Roach said in a 2001 interview. “That’s in all my work, because it’s not easy to live in this country that we do being a person of color. When you find yourself being lynched because of color, it’s some barbaric stuff.” He didn’t back off his stance as he got older; he got more experimental, working with avant-garde musicians like Archie Shepp and Anthony Braxton, and forming the percussion ensemble M’Boom in 1970.
Roach wasn’t the only jazz musician using his platform to denounce racism. John Coltrane’s “Alabama” was a meditative blues song recorded in response to the church bombing in Birmingham that killed four young Black girls. Nina Simone’s “Mississippi Goddam” was an upbeat jab at the Jim Crow South. Before Roach’s political stance, in 1959, Charles Mingus released the song “Fables of Faubus” as a diss to Arkansas governor Orval Faubus, who in 1957 sent the National Guard to Little Rock Central High School to prevent racial integration.
Before these artists, Black jazz musicians weren’t encouraged to address topics like these. Roach made it okay to do so across the course of an album. And he didn’t always need help; the song “Conversation” — from 1958’s “Deeds, Not Words” — was an extended drum solo that expressed many moods within its four minutes. In it I hear the essence of Black charisma, the swankiness of an uptown supper club, the uncertainty of a night out.
In that way, he was an innovator. The bang of the drum was more than enough. Yet when scholars rattle off the pillars of jazz, they mention the usual names — Miles, ‘Trane, Dizzy, Duke and Ella — without mentioning Roach’s contributions to the genre. His being in the background as a drummer and not out front as a vocalist, trumpeter or saxophonist might explain the oversight, but he was right there the whole time and should be considered a building block of the genre. When you hear a politically-minded jazz album today, be it Shabaka & The Ancestors’ “Wisdom of Elders” or “Irreversible Entanglements’” self-titled debut, it hearkens back to Roach and the groundwork he laid 60 years ago. A legend then, now and always, no other jazz musician has his rewind factor. That he can make me replay a 40-second drum solo on full blast like it’s hip-hop only bolsters his genius. Now back to this section of “Libra.” I still can’t shake it and likely won’t for some time.
A suspect who is at the centre of a murder investigation after a man was allegedly stabbed to death in Portugal is a British drainage engineer, MailOnline can reveal.
Josh James Menkens is alleged to have been one of the organisers of a mini-festival known as the Mad Hatter’s Tea Party last weekend near a remote commune known as Libelinha Venture in central Portugal.
The festival, which was hosted at an off-grid property, descended into chaos after the body of a 35-year-old British man was found in the early hours of Sunday morning.
The victim is alleged to have been stabbed to death after getting into a row with his attacker while playing the Blue Whale suicide game – an online challenge linked to a series of deaths worldwide.
Menkens, who is 27, was pictured today being taken from a courthouse in the city of Leiria, an hour’s drive away from the commune after being quizzed by a judge investigating the case.
Josh James Menkens (centre) was pictured today being taken from a courthouse in the city of Leiria, an hour’s drive away from the commune after being quizzed by a judge investigating the case
Police officers were pictured preparing to remove the body of the victim after they were found stabbed to death
The self-styled Libelinha Venture is an off-grid commune run by a new-age British businessman
His head covered by a coat, Menkens was hustled into an unmarked police car as a man believed to be his father shouted, ‘Your mother loves you son, we all love you.’
Police sources confirmed that Menkens has been named as an ‘arguido’ (suspect) in the case and will reappear before the judge tomorrow for further questioning.
It comes after a suspected murder case which shattered the tranquility of the forest valleys in Pedrogao Grande in the centre of the country.
The rambling Libelinha Venture, which includes 24-acres of wide open woodland, hills and shrubbery, is run by new-age privately educated British businessman Xavier Hancock and his Spanish partner Arantxa Atauri.
It is believed to have been hosting a festival for British and Dutch visitors called the ‘Mad Hatter’s Tea Party’, when the body of a 35-year-old British man was found less then a mile away on Sunday, September 24.
Police sources said the suspect and victim had been at a party at the couple’s ‘off-grid living community’ before moving onto woodland outside the commune.
In 2017, it was bought by eccentric British businessman Xavier Hancock, who attended the £15,000-a-year St Edward’s school, and transformed into a peaceful oasis of communal calm outfitted by the sites distinctive white teepees.
For potential visitors, Hancock, who set up the commune with his Spanish partner Arantxa Atauri, promises the chance to ‘reconnect’ with nature ‘during a journey towards self sustainability’.
His head covered by a coat, Menkens was hustled into an unmarked police car as a man believed to be his father shouted, ‘Your mother loves you son, we all love you’
Public school-educated Xavier Hancock (pictured with his Spanish partner Arantxa Atauri) is believed to have played host to a group of UK visitors that included both the suspect and the 35-year-old victim who was stabbed to death in woodland near his land in the early hours of Sunday morning
Nature lover Mr Hancock (pictured), who was educated at the St Edward’s public school in Oxford and Solent University in Hampshire, looks after his land with the help of volunteers from the UK. He has said he is cooperating with the police investigation
Hancock, who is believed to have hosted the 27-year-old suspect and the victim at the commune prior to the incident, has said he is fully co-operating with police investigations while they probe the circumstances around the death.
There is no suggestion whatsoever that Hancock or Arantxa are in any way involved in the crime.
Police confirmed yesterday they were initially told the British man’s death was linked to an argument that started while he and his friends were playing the Blue Whale suicide challenge.
The online game has been linked to numerous deaths around the world and consists of initially innocuous tasks before introducing elements of self-harm.
But sources close to the investigation subsequently insisted they had found no evidence there was a Blue Whale link to the death.
Correio da Manha claimed today the suspect had only mentioned the game ‘after having confessed to the crime’ as a way of ‘explaining the situation that led to the macabre death.’
The alarm was raised around 6.30am on Sunday and the suspect reportedly admitted stabbing his alleged victim before taking police to the remote woodland spot where his body was.
The knife investigators believe was used to kill him was found alongside the body, left in a small clearing in woodland close to the village of Figueiro dos Vinhos about a 15-minute drive from the town of Pedrogao Grande in central Portugal.
Footage published by Portuguese daily Correio da Manha showed police lifting the dead man’s body on a stretcher after it was covered with a sheet and putting it into the back of a nearby van.
A waiting Red Cross ambulance took it to Coimbra after officers reached the nearest tarmacked road.
A post-mortem is thought to have taken place yesterday in the university city of Coimbra, although the results have not been made public.
Police found the victim’s body in remote woodland between the localities of Poco Negro and Soalheira, near to the central town of Pedrogao Grande, on Sunday. File image of area near Pedrogao Grande
Xavier Hancock set up his self-styled Libelinha Venture featuring white teepees in a remote forest valley in central Portugal
The victim, who has not been named, was allegedly attacked after a row broke out between a group of friends while they played the notorious suicide game, the online challenge which as been linked to a series of deaths around the world
Well-placed sources said both the 35-year-old victim and suspected murderer had been part of a larger group of around six British people who had been living in the ‘off-grid living community’ and were due to fly back to the UK in about a week’s time.
One well-placed source said the suspect and other Brits questioned by police on Sunday as witnesses had been at a party at a campsite inside the community grounds before leaving to go to nearby woodland outside it where the stabbing occurred.
Another police source said: ‘A group of about half a dozen people the suspect and dead man were part of were staying at a campsite near to the place where the victim’s body was found.
What is the Blue Whale suicide ‘game’?
The lethal Blue Whale ‘game’ involves 50 tasks in as many days, aimed at ‘creating psychologically traumatising situations’, ending with suicide.
Participants join a ‘group’ where the tasks are set by a group ‘administrator’ and can range from watching horror movies to waking at strange hours, and eventually progresses to self harming.
On the 50th day, the controlling manipulators behind the game, which originated in Russia in 2015, reportedly instruct the participants, who are usually teenagers, to kill themselves.
The game, which reportedly started in Russia, has caused numerous deaths around the world, including Ukraine, India and the United States.
‘It appears they had attended a party there earlier that night before leaving to head for the woodland where the stabbing happened.’
The group are understood to have been planning to fly back to the UK in about a week’s time.
Respected Portuguese broadcaster SIC said the group often held parties and played the Blue Whale game – but there were contradictory reports in local media about whether the group of Britons had been playing at the time of the murder.
The lethal Blue Whale ‘game’ involves 50 tasks in as many days, aimed at ‘creating psychologically traumatising situations’, ending with suicide.
Participants join a ‘group’ where the tasks are set by a group ‘administrator’ and can range from watching horror movies to waking at strange hours, and eventually progresses to self harming.
On the 50th day, the controlling manipulators behind the game, which originated in Russia in 2015, reportedly instruct the participants, who are usually teenagers, to kill themselves.
The game, which reportedly started in Russia, has caused numerous deaths around the world, including Ukraine, India and the United States.
First reports about its victims appeared in Russia in 2016, and in 2020 police in Britain issued a warning to parents to be mindful of their children’s online activities, urging them to talk about the dangers they can face.
At the time, Northants Police said: ‘We are aware of a disturbing social media challenge circulating called the ‘Blue Whale Challenge’ which encourages teenagers to take part in a series of 50 challenges that culminate in committing suicide.
‘This challenge first appeared in 2016 and tasks are given online or through text messages, instant messages or posts on Instagram and Twitter.
‘Please talk to your children about the dangers and tell them not to open any messages or challenges of this kind.’
Lady Gaga and her non-profit organization Born This Way Foundation have teamed with the Cotton On Foundation to help draw awareness to mental health.
As part of the “Kinder, Braver Together” campaign, a range of limited edition products from T-shirts to caps and totes are on sale through Oct. 10. In addition, a pop-up shop at Westfield Century City is set to open Sept. 27.
Ahead of the pop-up store opening, Gaga and her mother, president of the Born This Way Foundation Cynthia Germanotta, stopped by and met with a group of young people. In a safe and intimate space, the Academy Award-winning superstar heard stories from the youth and stressed the importance of accessible mental health resources.
Talking about her collaboration with the Cotton On Foundation, Gaga said, “It is so refreshing to see a brand want to do something about mental health, but also not make it a drop in the bucket and let’s just do a T-shirt. They took the time to make this cool and beautiful and something that people can latch onto in a cultural way.”
Gaga spent time listening to individual stories and asked how the Be There Certificate, an interactive online mental health course that individuals aged 16-25 can take for free and at their own pace, had changed their outlook on confidence. Designed as a framework for young people to have the knowledge, skills and confidence to safely support anyone struggling with mental health, Gaga told the group, “You are part of 30,000 young people who took the Be There Certificate online and that’s very inspirational.”
The Born This Way Foundation was co-founded in 2011 by Gaga and Germanotta, with the goal of supporting youth mental health and building a kinder, braver world. Germanotta told the group, “We always try to stay true to our mission, which is inspiring and empowering youth.”
Said Gaga, “I like this idea that we can better ourselves for each other.”
The Air Force said on Monday that it had received its first electric passenger aircraft capable of taking off and landing vertically, a milestone for the companies that hope to one day sell thousands of such vehicles to serve as air taxis.
Joby Aviation, an air taxi start-up, delivered the aircraft to Edwards Air Force Base in Southern California, where the first supersonic flight took place. Air taxis are typically powered by batteries and designed to lift off and land like helicopters, but include wings to fly like airplanes.
Joby, which is based in Santa Cruz, Calif., said that its electric aircraft is substantially quieter than helicopters or planes. Each can carry one pilot and four passengers and travel as fast as 200 miles per hour and as far as 100 miles, according to the company.
The delivery is the first under an Air Force contract that Joby said was valued at up to $131 million and gives the government the option to receive up to nine aircraft. The Air Force and Joby will operate the vehicle, but Joby will still own the aircraft and receive both fixed and variable payments for hours flown. NASA, which has a facility at the base, will also conduct research on the vehicle.
The Air Force has signed similar contracts with other air taxi companies under a program called Agility Prime, part of a broader effort to promote innovation. Agility Prime’s mission is to support development of air taxis and similar technology, giving the Air Force a head start in exploring how it might use such aircraft while also providing financial and testing support to the air taxi companies.
“It is incredibly valuable for us to be getting to do early operations and to build the operational muscle,” Joby’s chief executive, JoeBen Bevirt, said. The collaboration will help Joby in several ways, including in learning how best to train pilots and maintain and charge aircraft in real-world situations.
Joby and other air taxi companies, including Archer Aviation and Beta Technologies, are separately rushing to get the Federal Aviation Administration to certify their aircraft for commercial flight. All three companies hope to begin commercial service as soon as 2025. The F.A.A. has said it is preparing to support robust air taxi operations by 2028.
But because the agency does not govern aircraft used by the military, air taxi companies have eagerly pursued defense contracts while they work toward F.A.A. approval.
At Edwards Air Force Base, Joby’s aircraft will be tested as a means to transport cargo and people. The vehicles could also be used to monitor the expansive base or tested to conduct medical evacuations, for example. All told, the Air Force has more than 100 performance measures it wants to evaluate, said Beau Griffith, the deputy lead of Agility Prime.
“Bearing out the promise of these vehicles is the program’s goal,” he said.
NASA will work closely with the military and Joby in testing the aircraft, with the aim of using its research to guide air taxi development and support the F.A.A. Starting next year, NASA pilots and researchers will explore how Joby’s vehicle would operate in a typical city environment, examining flight procedures and how it could interact with air traffic control and local infrastructure. Joby’s aircraft is expected to remain at the base for at least a year, and the company has plans to deliver another in 2024.
Other leading air taxi companies have similar partnerships. Archer, in Santa Clara, Calif., announced this summer that it had signed Air Force contracts valued at up to $142 million, which included delivery of up to six aircraft similar to Joby’s. Beta, in Burlington, Vt., is the first electric air taxi manufacturer to receive an airworthiness certificate for manned flight from the military, with pilots from both the Air Force and the Army having flown its aircraft. That company is also installing the first electric aircraft charging station at a military installation.
In addition to support from the military, the air taxi industry has received substantial support from other aviation and automotive companies.
Joby’s investors include Delta Air Lines and Toyota, which is Joby’s largest external shareholder and is helping the air taxi manufacturer as it builds a factory in Ohio. Archer recently received investments from Boeing, United Airlines and Stellantis, the parent company of Chrysler, Jeep and Ram, which is helping Archer to establish a factory in Georgia. And Beta is collaborating with UPS to test deliveries in the United Arab Emirates and has raised funds from Fidelity and other investors.
To the average person, the New Yorker’s expose on Hasan Minhaj’s fabrications in his standup routine may be shocking. But none of the three former “Daily Show” staffers who spoke with TheWrap were surprised.
“I’ve been hearing rumblings for a long time,” one former staffer said.
Another noted that Minhaj’s stories in his stand-up always seemed “too perfectly set up.” “There was always this suspicion that maybe this guy’s full of s–t. Maybe he’s exaggerating,” one of the staffers said.
In conversations with former “Daily Show” staffers, media experts and comedy insiders, Minhaj was accused of being “Trumpian,” being unethical, hurting other people of color and “giving white supremacists the supposed proof they need.
Shaji Kailas called KG George’s Yavanika a textbook.
Shaji described that KG George was his mentor and added that he was a teacher with unique qualities that cannot be imitated.
KG George, one of the legendary Malayalam filmmakers, died on September 24, 2023, at the age of 77. KG George tried to bridge the gap between the mainstream and the parallel cinema. Many celebrities from the Malayalam film industry remembered him one last time. The latest to join the bandwagon is filmmaker and writer Shaji Kailas. He wrote an Instagram post in honour of KG George.
The note states, “Yavanika is a textbook. A textbook that bears extraordinary genetic strength that cannot be copied no matter how much you study.” Here, he referred to one of KG George’s best directorial films, Yavanika (1982). Shaji described that KG George was his mentor and added that he was a teacher with unique qualities that cannot be imitated. Shaji remembered that he had gone with a cake on his birthday at the old age home, where he lived during the post-Covid-19 period. Scriptwriter Jinu Abraham and production controller Sanju J had accompanied Shaji during that time.
Shaji Kailas wrote, “George sir gifted us a smile that touches the soul…The all-time master craftsman of Malayalam cinema then cuts the cake,” adding: “Sri KG George was the hero of that period when Malayalam cinema challenged the world cinema.”
Social media users also paid their respects to KG George. One of them wrote, “Big Craftsman”. Another commented that Yavanika and Mela should act as study materials for the new generation of filmmakers.
Yavanika remains the most celebrated work of KG George. According to the critics, it didn’t adhere to the conventions of investigative thrillers. The movie revolves around the sudden disappearance of an alcoholic and sadistic tabla player, associated with a professional drama group. Sub-inspector Jacob Eeraly takes up this case for investigation. Whether he is able to crack this case or not forms the core theme of Yavanika. His other well-known film Mela revolves around a dwarf, a circus clown by profession, who marries a beautiful girl from his village.
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When it comes to movies, the 1970s were a transformative decade. The period was marked by a departure from the idealism of the 1960s and a shift towards a grittier, freer, crazier, and, last but not least, groovier era.In this article, we take a nostalgic journey back to this groovy decade and explore 20 iconic movies that not only reflect the spirit of the times but also continue to captivate audiences today.
Disco fever coming-of-age stories, nail-biting political thrillers, and dreamy adventures filled with that special hint of wild eroticism characteristic of the times; these films transport us to the turbulent, stylish, and sometimes outrageous world of the 1970s, helping us relive the magic of this iconic decade on the silver screen.
20 The Mack (1973)
The Mack (1973) is a captivating and gritty blaxploitation film (a mostly low budget genre from the ’70s featuring Black actors and themes, often centered on crime, action, and empowerment) that takes us on a wild trip through the criminal underworld of 1970s Oakland, California. Directed by Michael Campus, it stars Max Julien as Goldie, a cool and street-smart hustler who rises to power as a big-time pimp.
What makes this film stand out is its unapologetic portrayal of a complex antihero. Goldie is not just a hustler; he’s a man with ambition, style, and charisma. As he goes through the treacherous streets and confronts the challenges of his criminal empire, audiences are drawn into his world, torn between rooting for him and questioning his choices. The Mack‘s captivating story is complemented by a catchy soundtrack, including a memorable theme song by Willie Hutch.
19 One Sings, the Other Doesn’t (1977)
Ciné-Tamaris
Here, we have a heartwarming and uplifting picture directed by French filmmaker Agnès Varda. Set during the women’s liberation movement in 1970s France, One Sings, the Other Doesn’t (1977) follows the powerful friendship between two women, Pauline and Suzanne, whose lives take divergent paths.
What makes this film special is its early celebration of female empowerment and the accent on the importance of true friendship – an ode to the resilience of women and their capacity to support one another through life’s trials.
18 Ginger in the Morning (1974)
Kyma-Circle Productions
Ginger in the Morning (1974) is a light-hearted romantic comedy that contains the essence of a spontaneous cross-country road trip during the 70s. Starring the wondeful Sissy Spacek and Monte Markham, the film tells the story of Ginger and Joe, two strangers who cross roads by chance and share an unexpected adventure.
The audience is treated to the blossoming of an unlikely romance and the discovery of deeper connections between its characters, whose magnetic presence and witty dialogue make Ginger in the Morning a delightful and eye-watering experience, which reminds us that love can be found in the most unexpected places.
17 Super Fly (1972)
Gordon Parks Jr.’s Super Fly (1972) is a film that immerses us in the mad and complex world of the 1970s Harlem drug scene. This blaxploitation classic is famous for its stylish portrayal of antihero Youngblood Priest (Ron O’Neal).
The gritty realism, groovy soundtrack by Curtis Mayfield, the unflinching look at life’s challenges in the inner city, and the protagonist’s determination to escape the drug trade have made it a memorable film that resonates with fans of the genre half a century later. Super Fly is more than just a crime drama; it’s a cultural time capsule that captures the era’s music, fashion, and social issues. The film’s soundtrack, featuring hits like Pusherman and Freddie’s Dead, also elevates the viewing experience.
Black Mama White Mama (1973) blends action, drama, and social commentary into an unforgettable experience in the blaxploitation sub-genre. Directed by Eddie Romero, it stars Pam Grier as Lee Daniels and Margaret Markov as Karen Brent, two women from different backgrounds who find themselves shackled together while escaping a merciless women’s prison.
In their fight for freedom, Lee and Karen find themselves entangled in daring escapes and intense action sequences. The dynamic mix of humor and drama, a unique premise, and the charismatic performances by Grier and Markov make Black Mama White Mama an adventure that leaves a lasting impact on 1970s-themed film history.
15 Pick-Up (1975)
Winter-Gregoravich Productions
Released in 1975, Pick-Up is a captivating, intimate drama directed by Bernard Hirschenson. The film introduces us to Carol, a young woman brilliantly portrayed by Jill Senter, whose journey of sexual exploration takes center stage.
The film is an honest and unapologetic exploration of themes of empowerment and personal freedom, making it a compelling narrative that transcends its era. Pick-Up invites us to dive into its characters’ emotional and sensual complexities, exploring themes of love and self-discovery with grace and authenticity. It reminds us that the journey to self-acceptance is a universal one, and it does so with a sense of depth and emotional resonance.
14 Coffy (1973)
American International Pictures
In what is one of Pam Grier’s most prominent roles next to Foxy Brown and Jackie Brown, Coffy (1973) is a dynamic and empowering film that follows the fierce and determined character of Coffy, a nurse who takes matters into her own hands to seek revenge against the heroin dealer responsible for her sister’s addiction and the drug epidemic plaguing her community.
Under the direction of Jack Hill, Grier delivers a magnetic performance, making the film an enduring symbol of female strength. Coffy doesn’t shy away from addressing the issues of its time, from drug abuse to racial injustice, cementing its legacy as a classic of its genre..
13 Live and Let Die (1973)
Eon Productions
Live and Let Die(1973) is a thrilling, evergreen James Bond film that takes Agent 007 (Roger Moore) on a high-octane adventure through the exotic landscapes of the 1970s. Co-starring is a captivating young Jane Seymor, who would later become most recognized for her role as Michaela Quinn in the hit TV series Dr. Quinn, Medicine Woman (1993–1998).
As Bond investigates a drug lord’s scheme in the Caribbean, this Guy Hamilton picture combines the wild chase sequences, daring stunts, and sharp one-liners we’ve all learned to love, along with an unforgettable theme song by Paul McCartney and the Wings.
Award-winning comedian Louis CK’s feature film debut Pootie Tang (2001), is a hilariously offbeat and absurd comedy that takes audiences on a wild ride through the bizarre world of its protagonist, played by Lance Crouther.
Based on a sketch that first saw the light of day on The Chris Rock Show, the film’s refusal to adhere to conventional storytelling or humor makes it a truly unique experience that rocks its own brand of surrealism. Pootie Tang is a mysterious and enigmatic figure with his own language, which sounds a lot like pidgin English, and code of conduct. When evil corporations threaten his community, Pootie uses his belt, a weapon of power, to save the day with humor and style.
11 Dolemite Is My Name (2019)
Netflix
Directed by Craig Bower and starring comedy legend Eddie Murphy, Dolemite Is My Name (2019) is a cringe-inducing yet entertaining film that celebrates the indomitable spirit of its lead character, Rudy Ray Moore (Murphy). This biographical comedy-drama tells the story of Rudy Ray Moore, a struggling comedian, and musician who stumbles upon his kung-fu fighting alter ego, Dolemite, a character that redefines his career and the blaxploitation genre itself.
As Rudy rallies a team of misfit collaborators to bring Dolemite to the screen, the film serves up a hilarious and heartening journey filled with side-splitting laughter.
10 The Nice Guys (2016)
Warner Bros. Pictures Bloom
The Nice Guys (2016) is a lively buddy-cop comedy that rocks a refreshing mix of humor, action, and ’70s nostalgia. Directed by Shane Black, the film stars Ryan Gosling and Russell Crowe as two mismatched private detectives who find themselves having to solve a complex mystery surrounding the strange death of a pornstar while also having to find a missing girl.
The film captures the essence of 1970s LA with its stylish visuals, funky soundtrack, and colorful period details. It’s a delightful trip back in time for those nostalgic for the era and a fresh and groovy experience for newer generations; a movie in definite need of a sequel.
9 The Warriors (1979)
A timeless cult classic, Walter Hill’s The Warriors is an electrifying 1979 picture that takes us on a thrilling odyssey through the mean streets of New York City – a high-octane blend of action, adventure, and urban survival.
The story follows a street gang, The Warriors, falsely accused of murder as they must battle their way back to their Coney Island turf, facing rival gangs and evading the cops. The film’s gripping narrative unfolds over a single night, keeping audiences on the edge of their seats. Starring Michael Beck, James Remar, Dorsey Wright, Brian Tyler, and Deborah Van Valkenburgh, among others, The Warriors remains a beloved classic known for its stylish depiction of street culture and its unforgettable rallying cry, “Warriors, come out to play!”
Shaft (2000) is a contemporary reboot of the iconic 1971 character, John Shaft. Played with swagger and style by Samuel L. Jackson and directed by John Singleton, this action-packed film brings the beloved detective into the modern era while paying homage to its ’70s roots.
Jackson’s portrayal of Shaft is as cool and unapologetic as expected – a commanding screen presence accompanied by sharp and witty dialogue. The story follows a murder investigation that leads to a web of crime and corruption, keeping viewers on the edge of their seats. With its nail-biting action sequences and a compelling supporting cast, including Christian Bale and Jeffrey Wright, Jackson’s rendition offers a fresh take on the beloved character. This is more than just a reboot; it’s a reminder of the character’s enduring appeal and the importance of justice, as well as a modern-day tribute to a cinematic legend. In 2019, Shaft received another reboot by the same name, once again starring Samuel L. Jackson.
7 Enter the Dragon (1973)
Golden Harvest Company; Warner Bros.
A global martial arts phenomenon, Enter the Dragon (1973) catapulted Bruce Lee to superstardom and cemented his status as a cultural icon. Directed by Robert Clouse, the film is a dynamic fusion of action, suspense, and philosophy.
The story follows Lee, a skilled fighter invited to a remote island to compete in a deadly tournament hosted by a feared crime lord. Lee’s presence and philosophy of martial arts as a way of life elevate the film beyond its action-packed sequences. But no one can deny that, for its time, this was an unusual spectacle featuring breathtaking fight choreography, which made it rise to legendary status in the world of martial arts cinema.
6 Foxy Brown (1974)
American International Pictures
Another Pam Grier entry, Foxy Brown (1974), is a violent classic that introduces us to one of cinema’s most iconic black heroines, which also happens to be the role that shot the actress to trailblazing stardom.
Directed by Jack Hill, the story follows Foxy, a strong and resourceful woman who takes matters into her own hands to seek justice against those who harmed her boyfriend and her family. She infiltrates a drug cartel, battling against a world of danger, corruption, and betrayal.
5 Saturday Night Fever (1977)
Paramount Pictures
One of the films that defined a generation, Saturday Night Fever (1977) is a dazzling John Badham picture that revolutionized the world of musical cinema. Starring John Travolta as the charming and groovy Tony Manero, this movie immerses us in the electric world of disco-era Brooklyn.
Its pulsating disco soundtrack, featuring the Bee Gees and other legendary artists, became a cultural phenomenon and set the tone for an entire era of dance music. Here, Travolta delivers an electrifying performance as a working-class youth with dreams of escaping his mundane life through dance. After its release, prominent film critic Roger Ebert described Saturday Night Fever as “an especially hard-edged case and a very good movie.”
Oliver Stone’s The Doors (1991) is an intense and psychedelic journey into the turbulent life and music of one of rock ‘n’ roll’s most iconic bands. A film that “succeeds in communicating the “acid experience,”” as per Empire Magazine, it offers a kaleidoscopic portrait of the legendary frontman, Jim Morrison (one of Val Kilmer’s most electrifying and convincing roles). Co-starring is a young and magnetic Meg Ryan as Morrison’s long-time partner, Pamela Courson.
The Doors captures the spirit of the 1960s and ’70s counterculture, and Kilmer’s performance channels Morrison’s charisma and self-destructive magnetism to an unbelievable degree. The story explores the band’s meteoric rise and its descent into excess. It is a visual and auditory feast featuring its most beloved tracks performed with passion and extreme energy. The Doors also explores the creative process behind the music and the band’s profound impact on a generation.
3 Starsky & Hutch (2004)
Warner Bros. Picture
Starsky & Hutch (2004) is a hilarious and action-packed buddy-cop comedy that pays homage to the beloved 1970s TV series with unforgettable performances by Ben Stiller (as Dave Starsky) and Owen Wilson (as Ken “Hutch” Hutchinson). Directed by Todd Phillips, the film centers around two detectives with contrasting personalities, a wild sense for fashion, and a shared love for muscle cars, paired together to solve a murder case. They uncover a drug trafficking operation led by Reese Feldman (Vince Vaughn), a wealthy, ruthless, and crazy businessman.
Stiller and Wilson’s chemistry is electric, and the film offers an outrageously comedic take on the original series, with its Ford Gran Torino, flared pants, a groovy soundtrack, and memorable supporting characters, including Snoop Dogg as Huggy Bear.
2 Boogie Nights (1997)
New Line Cinema
Boogie Nights (1997), one of Paul Thomas Anderson’s most powerful projects, is an explosive drama that dives into the world of the adult film industry in the San Fernando Valley during the 1970s and 1980s. The film primarily revolves around Eddie Adams, a young dishwasher who transforms into Dirk Diggler, a celebrated adult film star. As he rises to fame, the ensemble cast of characters, including a director, fellow actors, and producers, experiences the highs and lows of the industry.
The film is loaded with high-end talent, including Mark Wahlberg as Eddie/Dirk, Julianne Moore, Burt Reynolds, Heather Graham, Don Cheadle, and Philip Seymour Hoffman. Boogie Nights received critical acclaim and was nominated for three Academy Awards, including Best Supporting Actor (Burt Reynolds) and Best Original Screenplay (Paul Thomas Anderson). The film also won several awards and accolades in 1998, including three Golden Globe Awards (Best Supporting Actor for Burt Reynolds, Best Supporting Actress for Julianne Moore, and Best Director for Paul Thomas Anderson).
1 54 (1998)
Miramax
Mark Christopher’s 54 (1998) is a groovy and stylish drama that takes us to the glamorous and hedonistic world of Studio 54, one of the most legendary nightclubs of the disco era, which served as a nightly escape for superstars like Mick Jagger, Cher, David Geffen, Jack Nicholson, Michael Jackson, and many others.
The film stars Ryan Phillippe, Salma Hayek, and Mike Myers in a departure from his comedic roles. It brilliantly captures the pulsating energy and decadence of the 1970s nightclub scene, following the life of Shane O’Shea (Phillippe), a young bartender ensnared in the whirlwind of celebrity, excess, and self-discovery. Here, Myers, in particular, delivers an iconic performance as the flamboyant club owner, Steve Rubell.
Push Square writes: “Obviously, Honkai: Star Rail will release on PS5 this coming 11th October, and is already a gigantic hit on PC and mobile. And then it’s got the urban-flavoured Zenless Zone Zero cooking, which was confirmed for consoles late last week. We went hands-on with both games on the TGS show floor.
France’s National Cinema Centre, Paris city hall’s Mission Cinema and regional body Film Paris Region have unveiled location filming regulations for the period around and during the Olympic Games and Paralympics in the French capital in 2024.
Mission Cinema has created a schedule for 2024, setting filming rules for parts of the capital hosting events as well as parts of the city not directly impacted by the games. See below for the full schedule.
The plan distinguishes between shoots for action and costume dramas, defining them as “exceptional shoots”, and shoots for other types of films or TV shows, which are defined as “standard shoots”.
For the period immediately preceding and during the Olympics (July 26 to August 11) and the Paralympics (August 28 to September 8), no type of shoot will be allowed in and close to places hosting events, while a reduced number of standard shoots will be permitted outside these zones.
The summer is traditionally a busy time for both local and international film and TV shoots in Paris, which usually empties out of its inhabitants from mid-July to end-August, even if the number of tourists ratchets up.
In the summer of 2023, a record 33 feature films, including John Woo’s The Killer, and 22 series, including The Walking Dead, shot in the French capital for close to 2,000 shooting hours.
There will be 15 separate Olympic sites within central Paris, while the suburbs of Saint Denis, which will home to the Olympic Village, and Saint Ouen, as will the town of Versailles, with the Chateau Of Versailles hosting the equestrian events.
Film Paris Region said it was still able to offer some 1,683 referenced locations outside of the Olympic zones, which could stand in for more famous locations that could be off-limits during the games.
It suggested productions could find central Paris’s trademark Haussmannian buildings in peripheral towns such as Vincennes, Saint-Mandé, Asnières-sur-Seine, Levallois-Perret, Courbevoie and Issy-Les-Moulineaux, or further afield in cities such as Bordeaux and Lyon.
The org also suggested stand-ins for famous monuments such as Lyon’s Pont de l’Université for one of the bridges over the Seine, or the Notre Dame cathedral in Reims for Paris Notre Dame, which is currently off-limits in any case due to the devastating fire of 2019.
Schedule – all dates are in 2024
Period 1: Before March 15 and after November 1 OG Zones: Standard and exceptional shoots possible with special care in a few sensitive work sites. Non-OG Zones: Exceptional and standard shoots allowed.
Period 2: From March 16 to June (the site assembly period) OG Zones: Interdiction of exceptional shoots on the perimeters of the Olympic sites. Standard filming possible after expert opinion. Non-OG Zones: Exceptional and standard shoots possible with special vigilance on sensitive sites.
Period 3: June 16 to September 15 (Immediately before and during the games) OG Zones: No exceptional or standard shoots Non-OG Zones: No exceptional shoots. A reduced number of standard shoots will be allowed.
Period 4: September 16 to October 30 (while sites being dismantled) OG Zones: Interdiction of exceptional shoots on the perimeters of the Olympic sites. Standard filming possible after expert opinion. Non-OG Zones: Exceptional and standard shoots possible with special vigilance on sensitive sites.
“I still need a Tron 3. I thought the ending of Legacy, where they “burned” the “.iso” into real life, was amazing. I always wanted to see how they adapted to Quorra becoming real, which would be the opposite plot of the other two movies.
I thought Sam Flynn was pretty cool, the notions and rumours of Jared Leto being the new main character were absolute bullshit. Maybe Disney will go back to it now that they’re squandering the MCU into mediocrity.”
It happens, even to the best of them: Madonna, U2, David Bowie, Paul McCartney, Queen. Despite all their good intentions, even great musicians can deliver a dud from time to time. Usually, major acts have the instinct and craft to polish an average song until it’s listenable, so mediocre albums are a dime a dozen.…
Revisit the shocking 1999 murder of beloved TV presenter Jill Dando, which continues to mystify experts and the public, in this in-depth documentary.
Certificate:Suitable for ages 12 and up
Year: 2023
Duration: 3 Episodes
Audio: British English – Audio Description, English [Original], French, Hindi, Polish, Brazilian Portuguese
Subtitles: Arabic, English, French, Polish, Ukrainian, Traditional Chinese
Episode Length: 44min
– English Audio Description
Cast and Crew
Production & Season Details:
Status: Returning Series”Who Killed Jill Dando?” was originally broadcast on Netflix and premiered on September 26th 2023. So far there have been 1 seasons (comprising of 3 episodes) of “Who Killed Jill Dando?”.
Taylor Swift: The Eras Tour, the concert film of Taylor Swift’s phenomenally successful world tour, is set to roll out in theaters worldwide. On Tuesday, it was revealed that the film is set to hit cinemas in more than 100 countries, starting with most countries on Oct. 13.
“The tour isn’t the only thing we’re taking worldwide,” Swift wrote on Instagram. “Been so excited to tell you all that The Eras Tour concert film is now officially coming to theaters WORLDWIDE on Oct 13!”
Tickets for international locations outside North America will go on sale for most participating locations beginning Sept. 26.
AMC Theatres, which is releasing Eras Tour in the U.S., is handling the international distribution of the film. AMC and its partners are working to reach agreements with movie theater operators representing more than 7,500 cinemas globally.
Eras Tour is already scheduled to play in more than 4,000 movie theaters in the U.S., Canada, and Mexico. AMC has confirmed that in Europe, the film will play at every Odeon Cinemas location. More details on locations will be released in due course.
With a global rollout set on top of the early North American tracking data, Eras Tour has a solid chance of obliterating all box office records for concert films. Even without the international markets, Swift’s movie was on track to become the top-grossing concert film of all time in its first weekend. Justin Bieber: Never Say Never (2011) currently holds the record domestically with a lifetime total of $73 million, not adjusted for inflation. It earned another $26 million overseas for a global total of $99 million.
In 2009, Michael Jackson’s posthumous documentary/concert film This Is It earned $72.1 million in North America and $181.9 million globally.
Brittany Howard signed with Island Records. The singer, also the lead singer and guitarist for Alabama Shakes, is ramping up to release new music on the label and embark on a headlining tour that kicks off Nov. 6 and will include shows at Nashville’s Ryman Auditorium and the Corona Capital Festival in Mexico City. Howard’s debut solo album, Jaime, was released in 2019 and netted her two Grammy nominations — best rock song and best rock performance for the track “History Repeats.” She’s managed by Red Light.
Range Media Partners signed Russell Dickerson to its music division. Dickerson’s first four singles topped Billboard’s Country Airplay chart, starting with 2018’s “Yours.” He’s slated to launch his Big Wheels & Back Roads headlining run later this month. Since launching just over two years ago, Range’s music division has launched its own label in partnership with Capitol Music Group and Virgin Music & Artist Label Services, representing a range of talent including Jack Harlow, Saweetie, Justin Tranter, Cordae, Midland, Hailey Whitters, Luke Grimes and Paul Russell. – Jessica Nicholson
Range Media also signed Chinese singer-songwriter, dancer and actor Lay Zhang to a global deal across all areas. Zhang, who first rose to fame as a member of the K-pop group EXO, scored his first Billboard 200 entry with his 2018 solo album, NAMANANA: 03, which debuted at No. 21 on the chart. According to a press release, Zhang boasts over 80 million followers across his social media accounts. In addition to music, he’s currently starring in the Chinese box office smash No More Best and is slated to star opposite Jackie Chan in the forthcoming film A Legend; he’s also a brand ambassador for Hublot, Sprite, Fila and Bang & Olufsen.
Puerto Rican hitmaker Yandelsigned a record deal with Warner Music Latina. Yandel, a reggaeton icon whose career spans decades — he broke out in the early 2000s as one half of the duo Wisin & Yandel — signed his contract at the Empire State Building in New York City, where he had the honor of kicking off the Hispanic Heritage Month celebration by leading the lighting ceremony. “Yandel’s iconic career has resonated with audiences worldwide, and his influence in the music industry is undeniable. This collaboration signifies a new chapter of innovation and creativity. We are excited to work hand in hand with Yandel to bring his music to fans across the globe,” said Warner Music Latina president Alejandro Duque in a statement. Yandel added, “I am truly excited to join the Warner Music Latina family and look forward to bringing new music to fans worldwide, fostering this new adventure with the label, and continuing to write my musical story together.” – Griselda Flores
Indian-born singer-songwriter-composer Guru Randhawa signed with CAA for representation. Known for Bollywood and Punjabi hits including “Patola,” Lahore” and “High Rated Gabru,” Randhawa broke into the U.S. mainstream with his 2019 Pitbull collaboration, “Slowly Slowly.” The music video for his latest single, “You Talking To Me,” has been viewed 30 million times in four weeks, according to a press release. He’s currently working on English-language music in Los Angeles. Randhawa is also represented by Exceed Entertainment in Mumbai, India; High G Talent; and the law firm Gang, Tyre, Ramer.
Warner Music Nashville signed singer-songwriter Matt Schuster. The Illinois native released his major-label debut track, “Tell Me Tennessee,” on Friday (Sept. 22). Schuster also has a cut on Bailey Zimmerman’s album Religiously. The Album., with “Chase Her,” and will open for Ashley Cooke, Dylan Scott and Kameron Marlowe this year. His team includes manager Eric Parker at Extended Play, booking agents Nate Towne, Braeden Rountree and Morgan Kenney at WME and Universal Music Publishing Group. – J.N
Ally Brooke partnered with AI-powered label SNAFU Records to release her new track, “Gone To Bed,” on Friday (Sept. 29). The deal marks Brooke’s reunion with Joey Arbagey, SNAFU’s president of A&R who first worked with Brooke during her time in Fifth Harmony. Brooke is managed by William Bracey, Sharona Nomder and Rue Golan and represented for booking by Mike G at UTA. She was previously signed to Atlantic Records as a solo artist and to Epic Records as part of Fifth Harmony.
The U.K. office of Believe partnered with Afroswing artist Darkoo and U.K. rapper Tion Wayne for their new single, “Shayo.” Believe will spearhead a full artist services campaign for the track encompassing global digital and physical distribution, digital marketing, digital service provider pitching and partnerships and more. The deal includes support from Believe’s audience development team spanning over 50 countries. “Shayo” marks Darkoo and Wayne’s third collaboration.
Rising rock artist Amira Elfeky signed with Anemoia Records/Atlantic Records, which released her latest track, “Coming Down,” on Sept. 15. Her relationship with Anemoia — a genre-agnostic imprint that specializes in early artist development and also boasts The Hellp, southstar and PEARCE on its roster — began nearly two years ago when she and her manager-masterer-mixer, Tylor Bondar, began working on music in Anemoia founder Ian Hunter‘s Los Angeles home. She released the track “Tonight (Demo)” in July. More music from Elfeky is expected in the fall.
Singer-songwriter Tiera Kennedy signed with Hill Entertainment Group for management and WME for global representation in all areas. Kennedy will be managed by Kodi Chandler, Greg Hill and their team, while at WME her reps are Risha Rodgers and Carter Green. She recently released “Jesus, My Mama, My Therapist,” a track off her forthcoming debut album. Kennedy is signed to Big Machine.
U.K.-born singer-songwriter-producer and multi-instrumentalist Finn Askew (“Roses,” “Feather”) signed to Elektra Entertainment, which released his latest single, “Perfect Colour,” on Friday (Sept. 22). Askew is managed by Marissa Rodney and was formerly signed to Polydor Records.
Indie rock duo Maesigned to Equal Vision Records, which will release new music from the band early next year (their first in nearly five years); Mae vocalist David Elkins is currently producing the new album at his Nashville-based Schematic Studios. Eva Alexiou-Reo manages and handles booking for the duo, which was previously signed to Tooth & Nail and Capitol Records and also released music on its own label, Cell Records.
Indigenous Canadian hip-hop duo Snotty Nose Rez Kids (comprised of Young D and Yung Trybez) signed to Sony Music Entertainment Canada. The 2023 Polaris Music Prize-shortlisted group is slated for a brief autumn tour to support its fifth full-length album, I’m Good, HBU?Brodie Metcalf at Meta Arts serves as the duo’s manager, while booking is handled by Jordan Powley at The Feldman Agency.
Universal Music Latino signed emerging reggaeton artist Fiamma, who rose to attention in 2020 with her single, “Chiki Pon.” Born in Puerto Rico and based in Miami, the singer said in a statement: “I am very grateful to the Universal Music Latino family for giving me the opportunity to represent the women of Puerto Rico in this prestigious company. This is a dream I’ve had since I was a child, and I’ve worked hard to get here, but now the real work begins. Thanks to everyone who has contributed to making this possible.” – G.F.
It’s FOMO no more for global Taylor Swift fans. The singer and AMC Theatres announced Tuesday morning that the “Taylor Swift| The Eras Tour” concert film will open in more than 100 countries worldwide on Oct. 13, the same day previously announced for the its North American bow. Tickets for showings in most of those countries will go on sale immediately.
As with the previously announced American release, the film’s international rollout will be handled by AMC, acting as a global distributor for the first time. AMC said that the worldwide expansion will include the movie playing at every Odeon venue in Europe, adding that the company and its sub-distribution partners “are taking steps to reach agreements with additional cinema operators throughout the world.” With bookings are still in progress, AMC said that it expects the number of theaters playing the film in its global expansion to surpass 7,500.
It’s been just a little less than a month since Swift and AMC announced the film would hit screens in the U.S., Canada and Mexico on Oct. 13. With many chains and operators having jumped aboard since that announcement to join AMC (which will be hosting it at every U.S. location) in showing the film, the North American rollout is now said to encompass more than 4,000 theaters.
The long overseas component of Swift’s Eras Tour do not begin until early 2024, so some fans wondered if the singer would let some or all of those dates pass before releasing the film version in those territories she has yet to play. This announcement makes it clear that Swift doesn’t consider it a problem to give global fans cinematic spoilers before the record-breaking tour touches down in their cities.
Tickets for the concert film’s initial U.S. screenings moved so swiftly that other studios quickly moved some of their product off of planned Oct. 13 opening dates. Expectations for the movie’s box office went sky-high after AMC sold $26 million in tickets on the first day they went on sale, a single-day record for the chain; that number did not include the sales for other chains or independent theaters that also put tickets on sale that day.
Exhibitors expect the Eras Tour movie to approach or surpass $100 million in U.S. receipts during its first weekend; if it does have a triple-digit opening weekend, it will join the company of only five films that have managed that so far in 2023 (“Barbie,” “The Super Mario Bros. Movie,” “Guardians of the Galaxy Vol. 3,” “Spider-Man: Across the Spider-Verse” and “Ant-Man and the Wasp: Quantumania”). Now, predicting same-weekend foreign box-office results can be added to the list of things Swift made industry forecasters do.
The running time for the film has been marked as 2 hours and 45 minutes. Even though that’s shorter than the nightly three-hour-plus length of her shows, Swift’s reps have assured fans that no songs have been cut from the setlist. So-called “secret songs” — representing the two-song wild card slot in her show — will be part of the movie, although which rarities made the cut have not yet been revealed. Director Sam Wrench’s cameras captured the first half of Swift’s six-night run at L.A.’s SoFi Stadium in August.
Most exhibitors are not expected to enforce traditional theater decorum during the run of the film. In her first announcement of the U.S. opening for the movie, Swift made it clear that concert, not film, etiquette will be the norm: “Eras attire, friendship bracelets, singing and dancing encouraged,” she wrote.
The concert film is not Swift’s only major October release. The latest album in her series of deluxe re-recordings, “1989 (Taylor’s Version),” comes out Oct. 27.
President Joe Biden’s decision to stand alongside United Auto Workers pickets on Tuesday on the 12th day of their strike against major carmakers underscores an allegiance to labour unions that appears to be unparalleled in presidential history.
Experts in presidential and U.S. labour history say they cannot recall an instance when a sitting president has joined an ongoing strike, even during the tenures of the more ardent pro-union presidents such as Franklin Delano Roosevelt and Harry Truman.
Theodore Roosevelt invited labour leaders alongside mine operators to the White House amid a historic coal strike in 1902, a decision that was seen at the time as a rare embrace of unions as Roosevelt tried to resolve the dispute.
Lawmakers often appear at strikes to show solidarity with unions, and during his 2020 Democratic primary campaign, Biden and other presidential hopefuls joined a picket line of hundreds of casino workers in Las Vegas who were pushing for a contract with The Palms Casino Resort.
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U.S. auto workers strike: Hundreds protest at Ford plant in Michigan after failed negotiations
But sitting presidents, who have to balance the rights of workers with disruptions to the economy, supply chains and other facets of everyday life, have long wanted to stay out of the strike fray — until Biden.
“This is absolutely unprecedented. No president has ever walked a picket line before,” said Erik Loomis, a professor at the University of Rhode Island and an expert on U.S. labour history. Presidents historically “avoided direct participation in strikes. They saw themselves more as mediators. They did not see it as their place to directly intervene in a strike or in labour action.”
Biden’s trip to join a picket line in the suburbs of Detroit is the most significant demonstration of his pro-union bona fides, a record that includes vocal support for unionization efforts at Amazon.com facilities and executive actions that promoted worker organizing. He also earned a joint endorsement of the major unions earlier this year and has avoided southern California for high-dollar fundraisers amid the writers’ and actors’ strikes in Hollywood.
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Canada closely watching U.S. autoworker negotations as strike looms
During the ongoing UAW strike, Biden has argued that the auto companies have not yet gone far enough to satisfy the union, although White House officials have repeatedly declined to say whether the president endorses specific UAW demands such as a 40% hike in wages and full-time pay for a 32-hour work week.
“I think the UAW gave up an incredible amount back when the automobile industry was going under. They gave everything from their pensions on, and they saved the automobile industry,” Biden said Monday from the White House. He stressed that the workers should benefit from the carmakers’ riches “now that the industry is roaring back.”
Biden and other Democrats are more aggressively touting the president’s pro-labour credentials at a time when former President Donald Trump is trying to chip away at union support in critical swing states where the constituency remains influential, including Michigan and Pennsylvania. Biden is also leaning in on his union support at a time when labour enjoys broad support from the public, with 67 per cent of Americans approving of labour unions in an August Gallup poll.
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United Auto Workers prepares to strike against Detroit Three automakers, rejects offers
Instead of participating in the second Republican primary debate on Wednesday, Trump will head to Michigan to meet with striking autoworkers, seeking to capitalize on discontent over the state of the economy and anger over the Biden administration’s push for more electric vehicles — a key component of its clean-energy agenda.
“If it wasn’t for President Trump, Joe Biden would be giving autoworkers the East Palestine treatment and saying that his schedule was too busy,” said Trump campaign adviser Jason Miller, referring to the small Ohio town that is still grappling with the aftermath of a February train derailment. Biden said he would visit the community but so far has not.
White House officials dismissed the notion that Trump forced their hand and noted that Biden was headed to Michigan at the request of UAW President Shawn Fain, who last week invited the sitting president to join the strikers.
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U.S. auto workers strike at all 3 Detroit automakers for 1st time in union’s history
“He is pro-UAW, he is pro-workers, that is this president,” White House press secretary Karine Jean-Pierre said Monday. “He stands by union workers, and he is going to stand with the men and women of the UAW.”
Yet the UAW strike, which expanded into 20 states last week, remains a dilemma for the Biden administration since a part of the workers’ grievances include concerns about a broader transition to electric vehicles. The shift away from gas-powered vehicles has worried some autoworkers because electric versions require fewer people to manufacture and there is no guarantee that factories that produce them will be unionized.
Carolyn Nippa, who was walking the picket line Monday at the GM parts warehouse in Van Buren Township, Michigan, was ambivalent about the president’s advocacy for electric vehicles, even as she said Biden was a better president than Trump for workers. She said it was “great that we have a president who wants to support local unions and the working class.”
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“I know it’s the future. It’s the future of the car industry,” Nippa said. “I’m hoping it doesn’t affect our jobs.”
Still, other pickets remained more skeptical about Biden’s visit Tuesday.
Dave Ellis, who stocks parts at the distribution center, said he’s happy Biden wants to show people he’s behind the middle class. But he said the visit is just about getting more votes.
“I don’t necessarily believe that it’s really about us,” said Ellis, who argued that Trump would be a better president for the middle class than Biden because Trump is a businessman.
The Biden administration has no formal role in the negotiations, and the White House pulled back a decision from the president earlier this month to send two key deputies to Michigan after determining it would be more productive for the advisers, Gene Sperling and acting Labor Secretary Julie Su, to monitor talks from Washington.
Billed as the first-ever adaptation of a Kubrick work, Dr. Strangelove will star Coogan in multiple roles at London’s Noel Coward Theatre for a limited run from October 8, 2024-December 21, 2024.
The adaptation hails from Veep creator and Coogan’s Alan Partridge collaborator Iannucci, and Olivier Award-winner Foley. Foley will also direct.
The original Oscar-nominated film about a rogue U.S. General who triggers a nuclear crisis, starred Peter Sellers, George C Scott, Sterling Hayden and Slim Pickens, among others. Sellers memorably played more than one character, scoring an Oscar nomination in the process.
Said Coogan, “The idea of putting Dr. Strangelove on stage is daunting. A huge responsibility. It’s also an exciting challenge, an opportunity to bring this timeless classic to a new audience… I will be working with the best people. Sean is a master of stage comedy and Armando and I started working with each other over 30 years ago. We made some memorable comedy together so it’s great to be collaborating with him once again.”
Iannucci, who wrote on X (formerly Twitter) that the team is hoping to send people home “with a smile and a scream,” commented, “It’s a tale of our time and it needs one of the most amazing talents of our time to tell it: I’ve seen Steve Coogan close-up for many years now, and can tell you that no one gets right under the skin of a character the way he does. There’s a total focus on how each character would speak and move and even think, added to which is an instinctive comic timing and dramatic charisma that’s second to none. He’s able to get huge audiences to connect with the vulnerabilities and fine details of each character he brings to life. We’re all so delighted he’ll be bringing these amazing gifts to the stage for the hugely contrasting roles in Dr. Strangelove and I for one can’t wait to see Steve make them his own. It’s going to be a thrill for all of us.”
Foley added, “I’m thrilled and excited to finally be able to say that one of our very finest actor-comedians, the amazingly talented Steve Coogan, is to play the lead in our world premiere stage version of Dr. Strangelove… Steve has excelled at being able to make people belly laugh even while they wince – sensing the maladroit, the madness, and the menace in his extraordinary characters… I can think of no better actor to convey the ’nightmare comedy’ of Strangelove.”
Dr. Strangelove is produced by Patrick Myles and David Luff, in association with Tulchin Bartner Productions and Playful Productions. Jonathan Cameron is executive producer for the Stanley Kubrick Estate.
Payday 3 developer Starbreeze Studios has confirmed that it’s looking towards making the new heist shooter “less dependent on online services”, following the constant server issues and matchmaking problems encountered by players from launch.
In an update post shared by Starbreeze yesterday (Monday, September 25), the studio acknowledged that “matchmaking infrastructure has not performed as tested and expected”. It stated that an “unforeseen error” made the game unable to handle the number of players attempting to dive in at launch, and, although a new version of its matchmaking server software was later rolled out, Starbreeze’s matchmaking partner introduced another new update on Sunday (September 24) which, once again, made the infrastructure unstable.
The post continued, confirming that in the long term, the studio will be “evaluating a new partner for matchmaking services and making Payday 3 less dependent on online services”.
As PC Gamer reports, over on Twitter, Starbreeze Studios’ CEO, Tobias Sjögren, also touched on the title’s potential move away from being an always-online game, and wrote: “[It’s] been communicated by Andreas for example that [the] team is looking at [the] possibility to [sic] add some sort of offline mode.”
Recommendation; ”Game pass” is better than ”hard pass”… ?Jokes aside, been communicated by Andreas for example that team is looking at possibility to add some sort of offline mode.September 24, 2023
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In the official statement, Sjögren said: “We are disappointed in the issues our playerbase has faced during our launch weekend, but we are confident in our core product and the quality of Payday 3 – and all available metrics point to it. We have a lot of diligent and consistent work ahead of us to regain community trust, but we will work hard to do it.”
Today (September 26), Payday 3 was temporarily taken offline in order to “improve server and matchmaking stability”. It’s set to go offline again on Friday (September 29) at 2am ET / 11pm PT / 7am BST / 5pm AEDT for approximately three hours.
As it stands, most players affected by Payday 3’s server issues probably wouldn’t consider the title to be one of the best FPS games. If you’re looking for something else to play with your friends, though, be sure to take a look at our list of the best co-op games.
Liberty Media, led by president and CEO Greg Maffei and chairman John Malone, said Tuesday that it has communicated a proposal to a special committee of the board of Sirius XM Holdings, outlining the terms of a proposed combination of the Liberty SiriusXM tracking stock group, which is listed under the stock ticker symbol LSXM, with the satellite radio giant, led by CEO Jennifer Witz, to form a “new, consolidated public company.”
The minority shareholders of SiriusXM would collectively own approximately 16 percent of what is dubbed “New SiriusXM,” with the former holders of LSXM common stock collectively owning approximately 84 percent.
“Liberty’s proposal rationalizes the dual corporate structure between LSXM and SiriusXM and provides value to all shareholders with a more flexible and attractive currency in New SiriusXM,” said Maffei. “SiriusXM minority shareholders will also benefit from enhanced trading dynamics, including increased liquidity and likelihood of future index inclusion.”
He concluded: “We are excited about the prospects for New SiriusXM and look forward to remaining meaningfully invested in the business. This simplified structure will also allow management to better focus on its strategic priorities, drive the company’s continued growth and simplify the investor relations story.”
In the proposed transaction, Liberty would separate LSXM “by means of a redemptive split-off of a newly formed subsidiary of Liberty (“SplitCo”), which would own all of the assets and liabilities attributed to LSXM,” the firm said. “In the split-off, holders of each series of LSXM common stock would receive a number of shares of a single series of common stock of SplitCo calculated based upon each underlying share of SiriusXM common stock held by SplitCo being exchanged for 1.05 shares of common stock of New SiriusXM. SplitCo would then combine with SiriusXM to form New SiriusXM, with the minority shareholders of SiriusXM receiving shares in New SiriusXM on a one-for-one basis.”
In addition, minority shareholders of SiriusXM would receive a pro-rata cash payment calculated based on the amount of the outstanding net debt of LSXM assumed by New SiriusXM in the proposed transaction. “New SiriusXM would have a single outstanding series of common stock, with each share entitling the holder thereof to one vote per share,” Liberty explained. “By way of example, based on recent outstanding share counts, holders of LSXM common stock would receive 10.3 shares of New SiriusXM common stock for each share of LSXM common stock held at closing, and, based on the projected outstanding principal amount of LSXM net debt at year-end, the minority shareholders of SiriusXM would receive one share of New SiriusXM common stock plus $0.55 in cash for each share of SiriusXM common stock held at closing.”
In classic Malone fashion, the proposed transaction is structured to be tax-free, except with respect to any cash received. It would be subject to, among other things, “the negotiation and execution of mutually acceptable definitive transaction documents and applicable board approvals, including the approval of a special committee,” Liberty said. “No further updates on the proposed transaction will be provided unless and until definitive documents are executed or discussions between the parties terminate.”
The proposed deal would not result in any changes to Liberty Media’s Liberty Formula One tracking stock or the Liberty Live tracking stock group.
“I might argue that instead of pretentious I’d maybe say ‘trying to do too much,’ which is similar but a bit kinder, I think. Is Asteroid City a movie about a TV show about a play? Or something? With not only the 4th wall being broken but the walls between those worlds? 5th walls? I don’t know. Again, just trying to do too much.”
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
In a 2020 essay, C Pam Zhang wrote about the way McDonald’s keeps her connected to her father, who would indulge with her in “a conspiratorial Happy Meal” on fishing trips away from her fast-food-disapproving mother. He died when she was 22.
Zhang’s debut novel, “How Much of These Hills is Gold,” explored the lives of Chinese settlers who joined the thousands who panned for gold in California. Released in 2020 during the COVID shutdowns, it earned instant acclaim, even as its author struggled with social isolation, depression and the anxiety of being Chinese American as anti-Asian hate crimes soared. Her solace, once again: McDonald’s.
“Land of Milk and Honey,” Zhang’s newest novel, is set farther afield — on a remote Italian mountaintop in a dystopian future — but it returns to the concept of food in times of crisis. Climate catastrophe has brought widespread famine, and a billionaire has gathered scientists to his Noah’s Ark (along with some very rich friends) to research, preserve and warehouse what crops and animals remain.
Entering this world is Zhang’s unnamed narrator, a child of immigrants — her mother from China, father from Korea — hired to be the community’s chef. Zhang evokes the sensuous delight of working with fresh ingredients in a time when certain flavors are essentially extinct.
But cooking is not the protagonist’s only job, we quickly learn: She is meant to role-play as the billionaire’s Korean wife, who has disappeared, in order to placate the investors. His daughter becomes her lover, and both of them must deal with the fallout of his constant quantification of what — and who — is worth saving.
Zhang spoke with The Times last month via Zoom about pleasure, scarcity and how the pandemic inspired her to ask the big questions that fueled her novel. The conversation has been edited for clarity and length.
Was COVID on your mind as you wrote this book?
I started it in early 2021, and so I suppose I had been blocked on a new project for at least a year. Up until that point, I did feel a lot of despair — a lot of fear that I had lost touch with writing, the thing that most gave me joy.
And some of that was certainly wrapped up in the pandemic. Some of that was wrapped up in the fact of having a first novel come out and then feeling like it wasn’t real in the world, because I didn’t get to see a copy of my book in a bookstore for over a year. It felt like putting a book out to a room full of ghosts.
This is strange for me to say, because all my life I’ve considered myself a bit of a misanthrope, but [it] made me realize how important the human embodied community aspect of it is. A review, no matter how wonderful it is, doesn’t feel as deep as meeting a bookseller in person and hearing why they loved your book. That stays with you, and part of it is physicality.
Physicality plays such a role in this novel, where physical pleasure is a luxury commodity, outside the reach of a world sunk into deprivation.
Pleasure is something that we need to take seriously in order to survive, right? Everyone deserves pleasure, and it shouldn’t only be reserved for the wealthy. I’ll say that I spent a lot of the pandemic deeply disconnected from my body and its desire for pleasure.
There were so many issues that felt bigger and more important than myself, and I became impatient with my body. I had my health, I had a roof overhead, I had food. What else could I ask for? And I beat myself up every time these desires — get on a plane, have a lovely meal in a restaurant — cropped up. But the first meal I had at a restaurant, in Seattle with a doctor friend who had seen much worse during the pandemic, it made me realize how important it was seeing his face, seeing food brought to someone who deserved it. I think, especially for women, it’s easier for us to see when somebody else needs something than to see it in ourselves.
For C Pam Zhang, publishing a breakthrough debut novel, “How Much of These Hills is Gold,” during COVID shutdowns “felt like putting a book out to a room full of ghosts.”
(Clayton Cubitt)
Race is also a clever factor in the story: The narrator is mistaken for another Asian woman. This happens all the time in real life, of course — people joke on Twitter about it.
It’s funny because I think that may come across as some sort of surreal or speculative elements. I think it’s the most realistic part. I love that you referred to it as a joke on Twitter, because I think that was kind of where it was coming from. It’s horrible to realize that people are not seeing you at all. They’re just interacting with a cutout, a stereotype, a silhouette in which they fill in whatever they want. But whenever I interact with my Asian women friends, that anger transmutes into laughter at the people who are so stupid they cannot distinguish between us. But what if that interchangeability becomes an asset on the job market at a time when jobs are incredibly hard to come by?
In a previous interview, you were asked a question about how your books are collaged together, and you started talking about how as a child of immigrants your sense of that nationality, that culture, is filtered through your parents. There is a brilliant scene in the book, involving the narrator’s mother serving food, where she realizes she just experiences pleasure differently. Have you had that experience?
I think pleasure, especially bodily pleasure, is one of the most deeply personal things. No one feels exactly the same as anyone else. I think there’s sort of this desire often, in Western therapy culture, to think that you’re supposed to come to a place of complete understanding and catharsis with your parents as an adult. In writing this book I came up against the limits of that idea.
I think there’s a kind of quiet beauty in leaving some things untranslatable, and just sitting beside someone with very different value systems and understanding, “This is what gives you joy.”
I don’t want a world where the über-rich are sitting on top of the heap and everyone is scrambling for scratch at the bottom. But I also don’t want a world in which I deny anybody the right to pleasure and joy. I do want everyone to have bread and roses, and I think that generosity toward other people often does start with this generosity for your family members.
How does this translate to the world of your book?
I think that ungenerosity, especially for the über-wealthy, comes from a fundamental fear of scarcity. It’s really hard to combat that narrative because we live in a world in which many things are getting worse. The environment is quickly heating up. There’s just a crisis on the horizon every day. I do think it breeds a pessimism that turns into cynicism.
lf you read the news, it’s really easy to feel that way, which is why we have sources that allow for imagination. Climate fiction, speculative fiction, whatever you want to call those emerging genres, they increasingly feel necessary. Fundamentally, it’s about this ability to look at our world and say “yes” and “what if?” I’m not saying that we should sit back and ignore it, but there’s just so much we don’t understand. I think that unknowability can be really, really beautiful and hopeful.
Berry writes for a number of publications and tweets @BerryFLW.
The World of Dreams has entered the chat, and it’s not going anywhere anytime soon. The Wheel of Time TV adaptation of the book series of the same name by Robert Jordan has already highlighted how important the realm, known as Tel’aran’rhiod, can be. We’ve seen the Forsaken use the World of Dreams repeatedly in season two of the show. Lanfear is a master of moving through Tel’aran’rhiod. Ishamael is skilled too, but his appearance glitches, betraying himself as a dreamwalker to the dreamer he’s visiting. We’ll continue to see how events in Tel’aran’rhiod affect the story, but for now, here’s what you should know about the World of Dreams with context from The Wheel of Time books, but no plot spoilers.
What Is the World of Dreams in The Wheel of Time?
Prime Video
Tel’aran’rhiod is a sort of parallel world. The books basically describe the World of Dreams as an inconstant mirror of the waking world. So when Lanfear tells Rand he can travel and see the world in Tel’aran’rhiod, he can do so. He could visit the White Tower, for example, in the World of Dreams and longstanding buildings will be there. Anything fixed in the waking world is likely to be fixed in the World of Dreams. But objects that do not have permanent locations will flicker in and out. For example, letters on a desk may appear and disappear moment-to-moment in the World of Dreams, while the desk stays put. Dreamwalkers like Lanfear have the ability to change what Tel’aran’rhiod looks like.
Aside from traveling to particular locations, those who know the World of Dreams well can visit a specific person’s dreams—as Lanfear and Ishamael do with Rand (Lanfear is able to kick Ishamael out of Rand’s dreams) and as Lanfear does with both Liandrin and Egwene. It’s how she takes Rand to “see” Egwene in her dreams and why Egwene wakes thinking she’d just heard Rand. Remember the bad dreams the Two Rivers ta’veren had in season one? That was Ishamael. Dreamers remember those who visit their dreams, even if they remain unaware it was because the visitor was dreamwalking.
Can Anyone Enter Tel’aran’rhiod?
Prime Video
Like Perrin’s wolfbrother ability, entering Tel’aran’rhiod does not require use of the One Power. Some can access the World of Dreams at will, some may use a ter’angreal designed for the purpose, and others might stumble into the World of Dreams accidentally. Just falling asleep and dreaming does not a dreamwalker make. One has to enter the realm consciously while being asleep. It was common practice in the Age of Legends, but in contemporary times, Aes Sedai rarely possess the ability.
What Happens to the Dreamwalker’s Body?
While a dreamwalker enters Tel’aran’rhiod, their body remains asleep. If someone is unpracticed in the World of Dreams, they will usually have someone stay awake at their side to pull them out. If a dreamer knows they are at risk of a dreamwalker visiting their dreams, like Rand with Lanfear, they also may have a minder on hand. Moiraine watched over Rand for signs of distress when Lanfear visited his dreams. A body belonging to someone visiting Tel’aran’rhiod does not get as much rest as it would from actual sleep.
Can People Die in Tel’aran’rhiod?
The World of Dreams is dangerous, especially for those new to the realm. Injuries sustained in Tel’aran’rhiod happen to the dream in the waking world. This can include death.
This only scratches the surface of Tel’aran’rhiod’s role in The Wheel of Time. As the series go on, we’ll undoubtedly see how powerful the realm is and we’ll return to dig in further.
New episodes of The Wheel of Time premiere on Fridays on Prime Video.
There’s never been a better time to buy Apple’s 10.9-inch 2022 iPad, as the 64GB Wi-Fi model has dropped down to $379 on B&H Photo Video, near an all time low. That’s a savings of $70 off the regular $449 price on the blue and silver options, or $399 for the pink version. The 256GB versions (also blue and silver) have dropped $50 to $549.
Apple
The 10.9-inch iPad earned an 85 Engadget review score this past October. It looks more modern than the cheaper and smaller 10.2-inch iPad, thanks to the flatter edges, thinner bezels, Touch ID button and USB-C port — similar to what’s found on the more expensive iPad Air or iPad Pro. The A14 Bionic chip isn’t the latest, but is easily powerful enough for media consumption, light work and other everyday tasks, while still delivering an impressive 10 hours of battery life. Its front-facing camera is positioned along the side, which is more convenient for landscape video calls.
There are a few quirks, including a display that’s not quite up to the iPad Air’s level. It also lacks an anti-reflective coating, so it’s a little more prone to glare. It only works with the original Apple Pencil, not the vastly improved second-gen stylus. Nor does it support the same Magic Keyboard as the iPad Air or iPad Pro; instead, it uses its own accessory called the Magic Keyboard Folio that, while good, isn’t as stable on your lap. It also lacks a headphone jack.
As we note in our iPad buying guide, if you can afford to step up to the iPad Air, that’s the best option overall. And if you just want a competent iPad for the lowest price possible, the 10.2-inch model can be a slightly better value. Still, at this price, the 10.9-inch iPad is a better value, so if you have your eye on one, now’s the time to act.
SAN SEBASTIAN – Top International business execs gathered on Tuesday at a rooftop venue, glistening in the Basque sunlight, for the second Creative Investors Conference at this week’s San Sebastian International Film Festival.
The second panel of the day at this two-day confab, The Global Film Industry: State of the Union 2023 round table, was moderated by Roeg Sutherland, co-head, CAA Media Finance. Speakers took in Pete Czernin co-chairman of Blueprint Pictures, David Flynn, head of global drama at WIIP, Fionnuala Jamison, managing director of MK2, and Vincent Maraval, president of Goodfellas.
Today, international is not just about recouping costs on American films but also about the discovery of new talent. Said Maraval: “What you need to succeed is the exception. The exception is coming from everywhere today. I think the market has become more global and less American.”
Added Czernin: “I think our awareness of global voices has increased.”
The streamers have changed the importance of international voices.
Said Flynn: “It’s a different analysis. Streamers are trying to get more viewers in their territories. Viewers will actually take a punt on something they don’t know today.”
“It’s exciting to see a younger audience open up to international films,” added Jamison:
In such a challenging business, part of what keeps industry vets going is this changing nature of the global business.
One example is changes to the pre-sales business to international territories – something that has long been key to the business.
“Today, to pre-sell you need a film to be an event by itself,” said Maraval. “The majority does not pre-sell. Japanese animation. Genre. Projects with strong IPs do. It’s more difficult for first time directors. Comedy. Certain types of films pre-sell.
The cost of the film has increasingly become an important key for pre-sales because if it’s too much for each territory, the film will not happen.”
The same rules must apply internationally as in the U.S. to succeed.
Said Flynn: “I think you have to make a film that’s really good. I saw a guy watching ‘Lawrence of Arabia’ on his phone on the underground. That’s the mindset of the younger generation. Make it really good and get someone to see it. I don’t think you can really be fussy in 2023 about how they see it.”
Another question posed by Sutherland was how do you get people to leave the house?
“It’s incumbent on all of us to make films that make you leave your house,” said Czernin.
Added Flynn: “We made a film a few years ago about three friends and a donkey. On paper it was really silly. But it worked. Challenge people. Make good movies.”
Said Maraval: The theatrical market is recovering quite well after COVID. The audience is there. It’s about giving them something exceptional and a reason to get out of the house.”
The exchange and balance between international and domestic is key. And both markets depend on each other for different input.
Said Flynn: “I think most people think the most original stories are from outside the U.S. today.
Added Maraval: “For a lot of stories coming from the U.S. market, we feel very far internationally. I feel I see the same film 20 times at Sundance. I think the world is changing in a way that makes everything more local.”
Added Czernin: “We need to take the best parts of the U.S. and international systems and put them together. I think the development system in the U.S. is rigorous and some of that needs taking over into the international space.”
Saw X director Kevin Greutert says that Shawnee Smith’s Amanda will be a “major character” in the upcoming sequel.
Amanda Young (Shawnee Smith) was introduced in the very first Saw movie as a young heroin addict who was the only known survivor of one of Jigsaw’s games. After being revealed as Jigsaw’s apprentice in the second movie, Amanda went on to be featured in several more sequels and is set to return for Saw X.
While speaking with GamesRadar, Saw X director Kevin Greutert said that Amanda will be a “major character” in the upcoming sequel.
“I would say that she’s a major character in this story and I really wanted to explore that area between what we see in Saw 1 where she’s a very vulnerable recovering drug addict and the kind of sassy rebel in Saw 3,” Greuter said, “but Saw 2 in a way doesn’t really count as character development for her except to show that she’s working with Jigsaw but she’s playing the role for the other characters that are trapped in Saw 2, so this is an opportunity to sort of develop her character more.“
The last few films in the Saw franchise were seriously light on John Kramer/Jigsaw, but Kevin Greutert has said that the new sequel will feature more of Tobin Bell’s Jigsaw than in any other film in the franchise. “Kramer is the centre of the story,” Greutert said. “They tried to make the last Saw without Tobin, and to me, that was a pretty gutsy move.”
“John Kramer (Tobin Bell) is back. The most chilling installment of the SAW franchise yet explores the untold chapter of Jigsaw’s most personal game,” reads the official Saw X synopsis. “Set between the events of SAW I and II, a sick and desperate John travels to Mexico for a risky and experimental medical procedure in hopes of a miracle cure for his cancer – only to discover the entire operation is a scam to defraud the most vulnerable. Armed with a newfound purpose, John returns to his work, turning the tables on the con artists in his signature visceral way through a series of ingenious and terrifying traps.“
Pictures via Netflix / Getty Images – Illustration by What’s on Netflix
Welcome to our big preview of every new Netflix Original series Netflix has in development to debut in 2024 and beyond.
Additionally, this list only includes brand-new debut shows and not returning shows. We’ve got a separate guide for all the renewed Netflix shows, including Stranger Things, The Crown, Bridgerton,Outer Banks, and more.
The first part is the series we know that have completed filming or are continuing to film throughout the strikes. These shows have the highest chance of coming out next year.
Part 2 will feature new series that were either caught up in the strikes (got midway through filming or got postponed) – we’ll also feature series we believe are far along in development and would be the first wave to go into production when the strike ceases.
Finally, in part 3, we’ll touch on shows that have been announced but haven’t had much information on development. We’ll keep this to a more simple list.
Also, please note that Netflix hasn’t actually confirmed all of its Fall 2023 series lineup. So, some things listed here could still be released this year.
What’s Coming to Netflix in 2024 or Beyond
Note: Listed in order of release and then in alphabetical order if no date is available.
3 Body Problem
Showrunners: David Benioff and D.B. Weiss Cast: Eliza González, Benedict Wong, Liam Cunningham, John Bradley, Tsai Chin
Coming to Netflix: January 2024 (rumored for January 1st)
From the creators of Game of Thrones comes their most ambitious project to date, attempting to adapt the complex and beloved sci-fi novel series that originates out of China.
The Three-Body Problem (shorted to just 3 Body Problem for release on Netflix) depicts humanity’s first contact with an alien civilization.
Boy Swallows Universe
Writer: John Collee Cast: Travis Fimmel, Simon Baker, Phoebe Tonkin, Anthony LaPaglia, Korey Williams
Coming to Netflix on January 4th, 2023
Picture: Netflix
Based on the book by Trent Dalton and previously adapted into a stage play, this new Australian series was filmed from the summer of 2022 through to the end of 2022.
The story follows a working-class Brisbane teenager navigating the world of drug addiction, ex-cons, poverty, and violence.
Griselda
Cast: Sofía Vergara, Alberto Guerra, Vanessa Ferlito, Martin Rodriguez
Coming to Netflix on January 25th, 2023
Read more about Netflix’s Griselda in our full preview of the new limited series.
Picture: Netflix
Some of the same team from Netflix’s hit Narcos series is working on this new limited series that takes aim at another notorious drug lord. Sofia Vergara leads the cast, playing the role of Griselda Blanco, a savvy and ambitious Colombian businesswoman and dedicated mother.
Avatar: The Last Airbender
Showrunner: Albert Kim Cast: Gordon Cormier, Ian Ousley, Kiawentiio, Dallas Liu – full list
Filmed throughout 2022 on state-of-the-art LED sets, this is a live-action adaptation of the beloved Nickelodeon series. It tells the story of Aang, a young boy who possesses the ability to wield all the elemental powers.
A Man in Full
Director: Regina King Cast: Jeff Daniels, Chanté Adams, Tom Pelphrey, Sarah Jones, Tom Pelphrey
David E. Kelley is behind this new adaptation of the Tom Wolfe novel.
Jeff Daniels leads the cast and plays the role of Charlie Croker, a real estate mogul who falls on hard times as he faces bankruptcy but goes to extraordinary lengths to keep his business going.
Filming has been complete since November 2022.
Baby Reindeer
Writer: Richard Gadd Cast: Tom Goodman-Hill, Jessica Gunning, Hugh Coles, Jamie Michie, Danny Kirrane
Picture: West End Best Friend
Based on an award-winning play, this British series filmed in London and Edinburgh between October 2022 and February 2023.
The series follows the writer Richard Gadd’s warped relationship with his female stalker and its impact on him as he is ultimately forced to face a deep, dark, buried trauma.
Black Doves
Picture: Getty Images
Keira Knightley will headline this new British production set to be directed by Alex Gabassi and comes from Sister Pictures. The series follows Helen embarking on a passionate affair that endangers her carefully constructed web of subterfuge.
Production is due to get underway in the United Kingdom in October 2023.
Bodkin / On Record
Showrunner: Jez Scharf Director: Nash Edgerton Cast: Will Forte, David Wilmot, Robyn Cara, Siobhán Cullen
Filming throughout the latter half of 2022 is the new series from producers Barack and Michelle Obama.
Here’s a rundown on what you can expect from the new mystery series:
“A group of podcasters set out to investigate the mysterious disappearance of three strangers in an idyllic Irish town. But when they start to pull the strings, they find a story much bigger and stranger than they could have imagined.”
Dead Boy Detectives
Showrunner: Beth Schwartz and Steve Yockey Cast: Kassius Nelson, Jayden Revri, George Rexstrew
Originally set to release at HBO Max, this DC series adaptation moved late to Netflix after already commencing production, which wrapped up in April 2023.
The series moves to Netflix to sit alongside another Neil Gaiman adaptation in the form of The Sandman, which is returning for new episodes.
The story is described as a “fresh take on a ghost story that explores loss, grief, and death through the lens of Edwin Payne and Charles Rowland, two dead British teenagers, and their very alive friend, Crystal Palace.”
Desert King
Creators: Ben Davies and Timothy Lee
Picture: Easy Tiger
Announced as one of the new titles in Netflix’s Australia slate in 2023 is Desert Kings which kicked off production in Fall 2023.
A mix of Yellowstone and Sons of Anarchy, this new series tells the story of billionaire miners, land owners, cowboys and desert gangsters clashing over the world’s biggest cattle station in Australia.
Eric
Creator: Abi Morgan Cast: McKinley Belcher, Benedict Cumberbatch, Dan Fogler, Jeff Hephner, Gaby Hoffmann, Phoebe Nicholls, Wade Allain-Marcus, Roberta Colindrez
Produced by Netflix UK, this new 6-episode mini-series revolves around Vincent, a grief-stricken father who loses his son and finds solace through his friendship with Eric, the monster that lives under Edgar’s bed.
The series filmed in multiple locations, including the US, between December 2022 and May 2023. Little Chick and Sister is producing.
Fool Me Once
Cast: Richard Armitage, Michelle Keegan, Joanna Lumley, Adeel Akhtar
The eighth major series adaptation of Harlan Coben’s significant works from Netflix will be set in Britain. Filming took place throughout the summer of 2023 and concluded in July.
Per Netflix:
“Fool Me Once follows Maya Stern who is trying to come to terms with the brutal murder of her husband, Joe. But when Maya installs a nanny-cam to keep an eye on her young daughter, she is shocked to see a man she recognises in her house. Her husband, who she thought was dead…”
Declan O’Dwyer serves as director on this new scripted show based on the teen novel series by Holly Smale. Geek Girl is the story of an awkward, neurodiverse teenager, Harriet Manners. Her life is turned upside down when she is spotted to be a model and embarks on a life-affirming journey of self-discovery as she balances high school and high fashion.
Production on this one continued throughout the strikes, filming in London and Toronto.
My Life With The Walter Boys
Showrunner: Melanie Halsall Cast: Marc Blucas, Jaylan Evans, Corey Fogelmanis, Ashby Gentry, Sarah Rafferty, Zoe Soul
Based on the Ali Novak novel, this new series is a family coming-of-age series set to consist of 10 episodes and wrapped filming in August 2022.
Here’s a quick rundown of what you can expect:
“Following the loss of her family in a tragic accident, 16-year old Manhattanite Jackie Howard has to learn to adapt to a new life in rural Colorado with her guardian – and 12 very rowdy kids.”
Sony Pictures Television and Komixx Entertainment are behind the series.
Kaos
Creator: Charlie Covell Cast: Jeff Goldblum, Janet McTeer, David Thewlis, Stanley Townsend, Billie Piper, Cliff Curtis
Filmed in the United Kingdom over the summer of 2022, this ambitious comedy-drama series will see Jeff Goldblum play the role of Zeus. Not sold yet? Here’s a bit more. Described as a dark comedy, it reimagines Greek mythology, exploring “gender politics, power, and life in the underworld.”
The cast alone is worthy of the price of admission, and given the subject matter, we’re seated.
Originally set to release on Showtime in the United States, Ripley will now release globally on Netflix after it snatched the rights away in 2023.
The period drama series tells the story of Tom Ripley, a grifter who operated in the early 1960s and is hired by a man to travel to Italy to try to convince his vagabond son to return home. The series has fully concluded production.
Senna
Cast: Charlie Hamblett, Joe Hurst, Gabriel Leone, Camila Mardila, Kaya Scodelario, and Alice Wegmann
Picture: Netflix
Slightly cheating as this is a Brazillian production and expected to be primarily in Portuguese (after all, the racer it features is Brazillian) but given the subject matter and much of the cast being from around the world, we will make an exception.
Serving as a biopic of the Formula 1 driver Ayrton Senna, it’ll follow his career on and off the track.
SUPACELL
Showrunner: Rapman Cast: Tosin Cole, Nadine Mills, Eric Kofi Abrefa, Calvin Demba
Originating out of the United Kingdom is this new superhero series, which comes from Rapman (best known for Blue Story and Top Boy). It was in production from mid-2022 through to the end of the year.
The series is about a group of five ordinary people who unexpectedly develop superpowers. The only thing these people have in common is that they’re Black South Londoners.
From the same team behind Netflix’s canceled Teenage Bounty Hunters and executive producer Jenji Kohan comes The Decameron. Production wrapped up in June 2023, shot entirely on location in Italy.
The series is described as a 14th Century Soapy Drama and has been given an 8-episode order. Set during the Black Death pandemic, we’ll follow a handful of nobles invited to retreat with their servants to a grand villa in the Italian countryside and wait out the pestilence with a lavish holiday.
The Gentlemen
Creator: Guy Ritchie Cast: Giancarlo Esposito, Daniel Ings, Theo James, Vinnie Jones, Joely Richardson
Following the success of Guy Ritchie’s The Gentlemen movie, we’ll return to the world with a new series adaptation that began filming at the end of 2022.
Miramax Television is behind the production, and the cast for the series includes Theo James, Giancarlo Esposito, and Kaya Scodelario.
The Leopard
Creator: Richard Warlow Cast: Bendetta Porcaroli, Deva Cassel, Kim Rossi Stuart, Simona Distefano, Saul Nanni
Picture: Netflix
This big-budget multilingual period drama series hails from Italy. Based on the 1958 novel, the series comes from Moonage Pictures and Indiana Production and follows Angelica Sedara, a young, stunning middle-class woman who catalyzes social disruption.
From Shawn Levy’s 21 Laps. Centers on Celeste Otis, who is about to marry the perfect man — who happens to be from the wealthiest family on Nantucket. But when a body is found floating in the harbor on the morning of what was supposed to be the year’s wedding, everyone at the party becomes a suspect.
Filming took place across Massachusetts throughout the Spring and Summer of 2023.
Toxic Town
Writer: Jack Thorne Cast: Claudia Jessie, Joe Dempsie, Aimee Lou Wood, Rory Kinnear, Jodie Whittaker, Brendan Coyle
PIX by Mark Campbell/Paul Cousans MCPIX Ltd.
From the production company behind Black Mirror, Toxic Town is based on true events. It’s about three mothers looking for justice for the rates of upper limb defects in babies born in Corby after a toxic waste incident.
Filmed on location in the United Kingdom, the series was filmed because it’s not SAG-AFTRA covered. It’s due to wrap up by the end of 2023.
Netflix Series Highlights in Development at Netflix for Release in 2024 & Beyond
All of the titles below have yet to begin production, got midway through production, and therefore, are yet to be completed.
Adapting the video game franchise from PlayStation, this new series follows the games’ storyline in the 31st century, where humans live in scattered tribes and are threatened by rogue robots.
Playstation Productions and Sony Pictures Television are producing for Netflix.
Millarworld Series
Netflix’s first foray into the Millarworld didn’t pan out too well, with Jupiter’s Legacy being canned after a single season.
Hoping to right the ship, there are several confirmed TV series in development at Netflix, including:
Night Club – Action-adventure series about a boy who inhabits vampire abilities after being bitten.
Supercrooks – A live-action series to accompany the anime series Netflix released in 2021.
The Magic Order – Harry Potter in scale, this series follows elite families with magical abilities. The project was initially postponed but was put back in active development. Production was due to begin in late 2023 but has been postponed because of the strikes.
Creator: Rightor Doyle
Photo by Axelle/Bauer-Griffin/FilmMagic
This show marks the first time Netflix has ever filmed a comedy pilot (they usually just go straight-to-series) but sadly, their plan didn’t quite work out with the pilot’s production being halted twice due to the strikes. Whether this will get a full-order is unclear – we’ll have to wait and see.
Samara Weaving headlines the cast, playing the role of Penelope Paul Porter. It’s about her character trying to break into the news industry and gets a tip-off of a potentially big story.
Should this be on this list, given it’s technically season 2 for Monster? We’re not sure so we’ll include it anyway! Ryan Murphy’s big Netflix deal may be over, but he’s still working on a few different projects for Netflix, and this serves as a follow-up to the limited series Dahmer.
Cooper Koch and Nicholas Alexander Chavez have been cast as the brothers who infamously murdered their wealthy parents, Jose and Kitty Menendez, in their Beverly Hills home in 1989.
Production on this new iteration of Monster was due to get underway in early Fall 2023, although hasn’t been able to thus far.
No Good Deed
Creator: Liz Feldman
Liz Feldman – Picture: Getty Images
From Liz Feldman (the creator of Dead to Me) comes a new dark comedy about three families bidding to buy a 1920s Spanish-style villa.
Production was due to get underway in Fall 2023, but due to the strikes, plans are currently on hold.
Based on the Jodi Thomas novels, this romantic drama series hopes to hit the same audiences as Virgin River and Sweet Magnolias. Series will be a contemporary western saga that charts the intersecting lives and loves of three ranching families
Production was due to get underway in September 2023 and we had heard that casting was underway on the project.
Laura Nava is writing the project with Dan Angel and Brian Gott producing.
Based on the comics by James Tynion IV, Boom! Studios will adapt the series for Netflix. Follows a teen survivor in a town ravaged by child-eating monsters.
Mike Flanagan was originally due to spearhead the series for Netflix but dropped out of the project, with Baran bo Odar and Jantje Friese (known for Dark and 1899) taking over showrunning duties instead.
The Abandons
Creator: Kurt Sutter Cast: Gillian Anderson and Lena Headey
Kurt Sutter – Picture: Getty Images
First in development in 2021 and ordered into a series in 2022, this new Western series will come from the creator of Sons of Anarchy and Mayans M.C. It was due to get into production in mid-2023, but the strikes have now allowed that to move forward.
Here’s the official rundown on what you can expect:
“As a group of diverse, outlier families pursue their Manifest Destiny in 1850s Oregon, a corrupt force of wealth and power, coveting their land, tries to force them out. These abandoned souls, the kind of lost souls living on the fringe of society, unite their tribes to form a family and fight back. In this bloody process, ‘justice’ is stretched beyond the boundaries of the law. The Abandons will explore that fine line between survival and law, the consequences of violence, and the corrosive power of secrets, as this family fights to keep their land.”
The Corps
Showrunner: Andy Parker| Cast: Ana Ayora, Blake Burt, Cederick Cooper, Vera Famiga, Dominic Goodman
Also known as The Pink Marine, this new series is based on the memoir by Greg Cope White. The story revolves around Cameron, a bullied, gay high school student who joins the Marine Corps with his straight best friend, Ray.
Production did get underway on this comedy series in New Orleans in early 2023 but was stopped midway through due to the ongoing strikes.
The Madness
Showrunners: Stephen Belber and V.J. Boyd Cast: Marsha Stephanie Blake, Colman Domingo, Gabrielle Graham, John Ortiz, and Tamsin Topolski
Chernin Entertainment is behind this new limited series thriller about a media pundit who stumbles upon a murder and must fight to survive.
Filming throughout most of 2023 was initially scheduled to wrap in August 2023. However, it’s one of the many shows that got caught up during the strike and naturally has yet to finish.
Coming out of Netflix’s bountiful Shondaland deal will be a new series adaptation of the Kate Anderson Brower book.
“132 rooms. 157 suspects. One dead body. One wildly eccentric detective. One disastrous State Dinner. The Residence is a screwball whodunnit set in the upstairs, downstairs, and backstairs of the White House, among the eclectic staff of the world’s most famous mansion.”
This show did manage to begin filming before the strike but ultimately ceased because of the actor’s strike in July 2023. It was originally due to wrap filming in September.
Untitled Netflix Ghostbusters Animated Series
Picture: Sony
Coming from Sony Pictures Animation, this is a brand-new animated series is based on the long-running Sony franchise. Ghostcorps is producing the new series alongside Jason Reitman and Gil Kenan.
Untitled Netflix Kristen Bell / Adam Brody Comedy (aka Shiksa)
Creator: Erin Foster
Photo credits: Scott Gries / Ricky Middlesworth
First announced in early 2023, this new comedy series comes from Erin Foster and Modern Family co-creator Steven Levitan. It’s centered around centered on the unlikely relationship between an irreverent, outspoken, agnostic woman and an unconventional rabbi.
3 Arts Entertainment and 20th Television, in association with Steven Levitan Productions, are behind the series for Netflix
Zero Day
Writers: Eric Newman, Noah Oppenheim, Michael Schmidt Cast: Jesse Plemons, Robert De Niro, Lizzy Caplan, Connie Britton, Joan Allen, Edi Cathegi, Geoffrey Cantor
Pictures: Getty Images
This new drama-thriller mini-series comes from Grand Electric and Panoramic Media.
Here’s the official logline for the series:
“Zero Day asks the question on everyone’s mind — how do we find truth in a world in crisis, one seemingly being torn apart by forces outside our control? And in an era rife with conspiracy theory and subterfuge, how much of those forces are products of our own doing, perhaps even of our own imagining?”
Filming began on this series in early June but was held up once SAG-AFTRA began striking.
Every Other Upcoming Netflix Original Series Coming in 2023 and Beyond
12 Scars – Jamie Linden is writing this new drama series that follows a single father trying to move beyond his previous life as a violent criminal.
90 Church – In 2022, we heard that Netflix was eying this new Narcotic drama previously in development elsewhere.
A Chorus Line – Mini-series starring Ewan McGregor about Broadway dancers auditioning for spots from Ryan Murphy.
Arbor Hall – Mystery teen thriller from Kalinda Vazquez.
Assassin’s Creed – Adaptation of the Ubisoft game franchise.
Black Rabbit – Mini-series starring Jude Law and Jason Bateman.
Bloom – From Higher Ground Productions, this drama series is set in the world of fashion in post-WWII New York City that depicts barriers faced by women and by people of color in an era marked by hurdles but also tremendous progress.
Coming Undone – Billie Piper is set to star in this memoir from writer Terri White.
Conan the Barbarian – A new live-action reboot series based on the iconic sword-wielding character popularized by Arnold Arnold Schwarzenegger. In development since 2020.
Confessions – Based on the novel by Jason Smith, Paul Wesley is set to star in this coming-of-age series chronicling a teacher’s two-year sting teaching in public school in Northern California. Universal Television producing.
Confessions on the 7:45 – Jessica Alba to star in an adaptation series of the Lisa Unger book.
Daddy Ball – New limited series from Aggregate Films starring Jason Bateman.
Damage – Gaumont Television and Moonage Pictures are behind this drama series.
Death Note – Another Netflix adaptation of the manga series, but The Duffer Brothers are behind it this time and will be in a series format.
Department Q – From Left Bank Pictures, this new detective crime mystery comes from Chandni Lakhani based on the novel by Jussi Adler-Olsen.
Dumped – Comedy series from Kapital Entertainment and Anonymous Content about a hopeless romantic and friends becoming detectives to investigate her ex.
East Of Eden – Florence Pugh will star in this new limited series about two families coming together to reenact Cain and Abel.
Fanger – Tom Lynch to produce this new kids series about a preteen girl realizing she has supernatural powers, she embarks on a search for who her birth parents were.
Firekeeper’s Daughter – Young adult thriller from Higher Ground Productions. Based on the debut novel by Angeline Boulley.
Forever – Mara Brock Akil to serve as showrunner in this new series based on the novel by Jane Blume. An epic love story of two Black teens exploring romance and their identities through the awkward journey of being each other’s firsts.
Free Food for Millionaires – Adaptation based on the best-selling Min Jin Lee book. The story focuses on Casey Han, a daughter of Korean immigrants, who is addicted to a glamorous Manhattan lifestyle she cannot afford.
Picture: Xbox Studios
Gears of War – Adult-animated series to be released alongside a live-action Netflix movie adaptation.
Heaven’s Forest – Adult-animated series from Powerhouse Animation and executive produced by Adi Shankar, Warren Ellis, and Kevin Kolde. Set in an Indo-futuristic world and inspired by the Indian mythology of the Ramayana.
Kings of America – Adam McKay was announced in 2020 to produce this series on the woman behind Walmart. Was set to star Amy Adams.
Magic: The Gathering – Animated adult series based on the card trading game.
Mama K’s Team 4 – Animated series due for release in 2024 about four teen girls living in the neo-futuristic African city of Lusaka, Zambia.
Man On Fire – TV adaptation based on J. Quinnell’s Man on Fire and The Perfect Kill. Set to be an eight-episode series.
Nocterra – Announced in 2021, this series would adapt the Scott Snyder comic book.
One Day in December – Based on the book by Josie Silver, Lucy Boynton was set to star in this dramedy.
Orbital – Steve Blackman (the showrunner of The Umbrella Academy) is behind this new sci-fi thriller series set on the International Space Station.
Outfielder – Ryan Murphy and Jamie Lee Curtis were announced to be serving as executive producers on this baseball drama about the very first high five.
Poindexter – Media Res series from producer Michael Ellenberg.
Portrait of a Thief – Sugar23 is developing this series based on the novel by Grace Li. Optioned in 2021.
Programmed – A new comedy series from Objective Fiction and Mae Martin.
Raybearer – Fantasy teen drama.
Recursion – An adaptation of the sci-fi thriller book comes from Matt Reeves and Shonda Rhimes.
Shadecraft – Joe Henderson best known for his time on Lucifer, is adapting this comic-book adaptation alongside Georgia Lee.
Skull and Bones – A live-action pirate adventure series based on the Ubisoft game. Amanda Segel serves as showrunner.
Splinter Cell – Animated series based on the Ubisoft video game IP.
Stronger – Sheldon Turner is behind this new A+E Studios drama for Netflix starring Yvonne Orji. About a single mom who becomes obsessed with bodybuilding.
Tall Pines – Eight-episode mini-series from Mae Martin set in a bucolic but sinister town that explores the insidious underbelly of the troubled teen industry.
The 39 Steps – Limited series starring Benedict Cumberbatch about a man who becomes a pawn in a global conspiracy to reset the world order. Based on the John Buchan novel.
The Atomic Bazaar – Revolves around the global trade in nuclear weapons production and state-sponsored nuclear activities.
The Boroughs – The Duffer Brothers are developing this new supernatural sci-fi series with creators Jeffrey Addiss and Will Matthews. Set in a retirement community in the New Mexico desert you’ll follow a group of unlikely heroes must band together to stop an otherworldly threat.
Picture: Disney
The Chronicles of Narnia – A TV series adaptation is eventually expected to be part of Netflix’s huge expansion into Narnia.
The Craving – From Protozoa Pictures comes a new drama about a ski town in Colorado’s sheriff facing an unprecedented new threat.
The Elf on the Shelf – Animated Christmas kids series from Vertigo Entertainment.
The Moon Represents My Heart – Gemma Chan stars in this drama series about a British-Chinese family with the ability to time travel.
The Murders of Molly Southbourne – Horror adaptation based on the Tade Thompson novel.
The Night Jar – Fantasy series from producer Peter Chernin.
The Survivors – Australian crime mystery mini-series.
The Talisman – Adaptation of the Stephen King novel being helmed by The Duffer Brothers and Curtis Gwinn.
The Warmth of Other Suns – Anna Deavere Smith will bring the book of the same name to Netflix with the help of Shondaland. It tells the story of the long migration of African Americans who flee the South for a better life.
They Both Die at the End – Teen drama series from Chris Van Dusen and Bad Bunny.
Twilight of the Gods – Animated series from Jay Oliva and Zack Snyder.
Untitled Jane Lynch Series – Comedy from creators Stephen Engel and Carol Leifer described as a modern-day Golden Girls.
Untitled Lilly Singh Project – Comedy executive produced by Kenya Barris.
Untitled Mike Schur Project – Ted Danson will star in this new comedy series based on The Mole Agent that comes from the creator of The Good Place and Brooklyn Nine-Nine.
Untitled Los Angeles Lakers Series – A new workplace comedy from Mindy Kaling, Elaine Ko and Jeanie Buss
Untitled Stranger Things Spin-off – The Duffer Brothers are working on a Stranger Things spin-off.
Watergate – Limited series from George Clooney and Matt Charman on the infamous Watergate scandal.
White Stork – Political thriller miniseries starring Tom Hiddleston – production was supposed to begin in 2022 but has yet to happen.
Amblin Partners Production of President Jeb Brody welcomed the tentative writers’ strike deal during an industry panel at the San Sebastian Film Festival on Tuesday but warned that some of the issues that sparked the industrial action in the first place were still swashing around.
“I think a lot of trickiness in the movie business that led to the strike is still with us, and it’s going to be a couple of years I think until they figure it out,” he said, citing tension between streaming and theatrical and as well as malingering questions around how people are remunerated.
He said the strike had impacted everybody, especially on the development front, but added that he felt Hollywood would soon get back up to speed.
“It’s definitely going to be a problem for the next little while but overall, it’s a strong industry and people will bounce back quickly,” he said.
He expressed optimism that SAG-AFTRA would soon also come to an agreement with the Alliance of Motion Picture and Television Producers (AMPTP) in the light of the tentative writers deal
“And I think the actors will come to a solution within the next couple of weeks. That tends to follow in history,” he said.
Brody said he sensed a fresh energy in Hollywood in the light of 146-day strike and Sunday’s announcement.
“It’s been tricky for a couple of years. You have a lot of people in our business who are frustrated, they’re been banging their heads against the wall trying to figure it out. And then suddenly, it’s almost taken away for a couple of months,” he said.
“It feels for the first time in a long time that people are really excited to get back to work and there’s a real feeling of enthusiasm and creativity.”
Brody was talking at a panel exploring ‘Challenges and Opportunities in the Shifting US Landscape’ in San Sebastian’s Creative Investors’ Conference, organized in association with CAA Media Finance.
He was joined on stage by Neon Director of Acquisitions Sarah Colvin, Focus Features President Production & Acquisitions, Kiska Higgs and Tendo Nagenda, producer at 10 by Ten.
Higgs said she was not at liberty to discuss the strikes publicly given her company is a AMPTP member, while Colvin said that Neon as an independent company had been able to benefit from waivers, which were a good way to support SAG and show there were other options beyond streamers and studios.
Brian, 50, tells Blac, 35, whose real name is Angela White, to not give him “dirty looks like that” because they’re “not necessary.” Blac immediately sits up and asks the Beverly Hills, 90210 alum what he’s talking about. “I’m just saying,” Brian quips. Blac responds, “I’m from D.C. Don’t play with me. I’m not the one.”
Blac Chyna during the ‘Special Forces’ season 2 premiere. (FOX)
The mom-of-two orders Brian to “stop playing” with her. “I’m not playing with you,” she says. Blac is unsure if Brian is messing around with her or actually being serious. “Of course, I’m playing. I’m never serious,” Brian admits. He adds, “I don’t want to create any drama. I don’t want to make you feel bad at all.”
Blac walks up to Brian and says he’ll never make her feel a certain “type of way.” She stares him right in the face and continues, “I’m gonna let you know that right now. But carry on, though. ‘Cause you so funny and all that, right?”
JoJo Siwa silently asks Brian if he’s okay after that tense moment. He just shrugs his shoulders. “What the heck happened?” Savannah Chrisley asks when Blac leaves the room. Dream Kardashian and King Cairo’s mom goes to another room and breaks down in tears.
Brian Austin Green is one of the celebrity recruits. (FOX)
All of the celebrity recruits pass the first day of Special Forces season 2. Some of them just barely. Their first task was to make it across two thin metal poles that were suspended 340 feet in the air. Brian, Blac, and the majority of the recruits failed the first task. Later, the recruits had to perform grueling tasks with heavy rocks.
Season 2 has brought the celebrity recruits to South Island, New Zealand, for the ultimate test in military training. Unlike the first season, the stars of season 2 have to face freezing temperatures this time around. Special Forces: World’s Toughest Test season 2 airs Mondays at 8 p.m. on FOX.
There’s an unwelcome surprise in the iPhone 15. Because of the lineup’s new higher-resolution camera, you’ll likely fill up your storage a whole lot faster. Sixty-five percent faster, to be precise.
That means you could get to the dreaded “storage full” alert much sooner — or end up having to pay for more iCloud+ storage full of newly larger photos.
Sure, higher-resolution photos are nice if you like to see every crinkle in the autumn leaves (and people’s faces). But to me, it also feels a bit like a shakedown. Apple created a problem and also a solution that costs us more money. The price of Apple’s ransom: Doubling your iPhone’s built-in storage costs $100 up front, or subscribing to iCloud+ online storage with monthly fees now ranges from $1 to $65 (yikes).
I’m generally a fan of using my smartphone camera to snap photos I store in the cloud and then throw things away — the high-tech version of tidying up. But I’m also wary of Big Tech companies using their power to extract more money from us.
Just know you do have other options, including a buried setting I’ll share below to stop the iPhone 15 camera from making these new XL files.
How iPhone photo sizes changed
Here’s what’s going on: Since 2015, the iPhone has captured standard photos at a resolution known as 12 megapixels. That’s enough to print out photos at 10 x 14 inches. Apple even turned some of these shots into promotional billboards for the iPhone.
The iPhone 15 and 15 Pro change that with a new camera sensor that’s capable of ultra high-resolution photos. By default, the iPhone 15 saves most of the shots from the regular Wide camera at resolution known as 24 megapixels. (In dark conditions, it combines some of the pixels and saves just 12 megapixels, and the ultrawide and zoom lenses also still take 12 megapixel shots.)
To some iPhone photographers, the extra resolution may be totally worth the larger files. It means there can be more detail, and you can zoom into photos after the fact. I’m a pretty advanced iPhone photographer, but so far have found the leap a bit less useful than I’d been hoping for. The times when the extra detail changes how I use or crop into photos have been few and far between.
Apple didn’t comment on leaving customers in the lurch, but confirmed to me the new iPhone shots take up more space. It pointed me to documentation claiming the iPhone’s 12-megapixel files are approximately 2 MB, while its 24-megapixel files are approximately 3 MB. That suggests a 50 percent increase.
It’s actually more than that, according to my own experiments. I tallied up the file sizes of 50 new iPhone 15 photos and did the same with 50 older iPhone 13 photos. The trend was clear: The 24 megapixel photos averaged about 65 percent larger. One topped the scales at 5.5 MB.
What does that mean in practical terms? My patterns can help us with some back-of-the-envelope math. I take about 30 photos per day. (You may take more or less — I have a 2 year old who likes to ham it up.) My photo habit with an iPhone 15 could now gobble up about 37 gigabytes in a year in high-resolution photos.
The takeaway: In less than three years, you could fill up the roughly 100 gigabytes of free space on an iPhone 15. And that assumes your phone isn’t already full of photos you’ve taken over the past 16 years of iPhones.
If you don’t care about keeping higher-resolution photos, there’s an easy fix. Dig into your iPhone 15’s settings and change the default back to 12 megapixels. Go to Settings → Camera → Formats → Photo Mode → and tap 12 MP.
Apple’s iPhone 15 now takes higher quality photos but also takes up much more space on your phone and online. Here’s how to adjust your settings. (Video: The Washington Post)
But if you do want to hold onto the higher-resolution photos, you’ve got other options.
2) Back up to a computer or hard drive
Without spending an extra dime, you can get in the habit of regularly backing up your photos from your iPhone to a computer and then deleting them from your iPhone. You’ll need plenty of free space, or perhaps an external hard drive. A 4 terabyte Western Digital My Book costs $110 and would take a very, very long time for most people to fill up. Or you can even plug a little USB-C compatible flash drive directly into an iPhone 15 and share or save photos directly, though this kind of backup isn’t as nicely automated.
3) Buy an iPhone with more storage
If you always keep your photos on your iPhone, you could double your storage to 256 gigabytes by spending an extra $100 up front. (If you’ve already bought your phone, you’re still likely in the window to return it.) The iPhone 15 Pro Max starts with a base level of 256 gigabytes of storage.
If you want the convenience and confidence that all your memories are backed up online, of course Apple makes its own iCloud service as the simplest option. In the background, it automatically backs up your photos to your iCloud account and moves the full-resolution version from your phone until you load it up, meaning you never run out of space on your iPhone.
But iCloud+ storage isn’t cheap, and you may be forced to pay for a lot of storage you’re not yet using. For 99 cents per month, you get 50 gigabytes, which you could fill pretty quickly. After that, your option leaps to $2.99 per month for 200 gigabytes. Apple makes each new step up pretty big — the next level is $9.99 per month for two terabytes. And this year, it even added a 12 terabyte option for $59.99. One way you could try saving money is by joining an iCloud+ plan with your family or as part of a shared iCloud Photo library where the bill goes to someone else.
Google’s One storage plans, which closely align with Apple’s iCloud prices, can also back up and clear photos from an iPhone. Why choose it over Apple? Google’s Photos app also offers an option to automatically downsize your shots to 12 megapixels so they don’t eat up all your storage. And I also found Google’s Photos app to be faster than Apple’s at searching for and pulling up old photos. (There’s even a system to automatically move iCloud photos to Google photos, though it has crashed for me when I’ve tried it.)
If you’re getting a ton of photos or editing needs, you might be in pro territory. A service called SmugMug offers unlimited storage plans that start at $13 per month, and is particularly popular with pro photographers. So is Adobe’s Lightroom, which costs $19.99 per month for one terabyte of storage and comes with access to Photoshop and other sophisticated photo-editing tools.
EXCLUSIVE: Filmmaker Ilker Çatak, whose terrific film The Teachers’ Lounge is Germany’s submission for Best International Feature at the 96th Academy Awards, wants to see and make films that provoke.
But what exactly does that mean?
Well, according to Çatak, most filmmakers, including himself, can feel a bit ‘same,’ despite best intentions. “We’re all kind of left-wing and woke, none of us are racist and we have the same values,” he begins during one of several conversations we’ve held over recent months at Telluride, TIFF and over email. “Sometimes I feel like I watch films, and they’re so safe. You know where the story’s going to, and I actually want to see films that sometimes provoke and are not aligned to my perception of the world.”
“I like it when a filmmaker makes a bold decision and risks something,” adds the director, whose credits include I Was, I Am, I Will Be and Stambul Garden.
For example, he says Yorgos Lanthimos’s Golden Lion-winning Poor Things “was bold for a filmmaker to make.” I wholeheartedly agree. The same goes for Paola Sorrentino and Justine Triet’s films. I agree with that, too.
The Teachers’ Lounge, which was acquired by Sony Pictures Classics back in March for all rights in North America, Latin America and most European territories, is set in a German school. Çatak sees “school as a miniature of society.”
“You’ve got the dean, you’ve got people with power in charge, and then you’ve got the people, the students, and you’ve got a school newspaper, which is representing the press. We thought — seeing as we live in such hysterical times where everybody just wants to be right and does not listen anymore, where it’s just about cancelling the other person or ‘alternative facts’ as they get called — that we thought this might be a nice playground to experiment in.”
Rather, it’s a dangerous playground, with Carla Nowak, as a new maths and physical exercise teacher played ferociously well by German actress Leonie Benesch (The White Ribbon, The Swarm) who finds herself at the center of an incident involving money stolen on school premises.
Teachers ask the pupils to show them their wallets. It’s such an intrusive act, but Çatak explains that in reality every infraction is investigated to the nth degree in German education. “We discovered that many German schools have problems, obviously, but they also have policies of zero tolerance.”
Leonie Benesch in ‘The Teachers’ Lounge’ Photo-Hanna Lenz/Alamode.
Çatak and co-screenwriter Johannes Duncker (Dämmerung) had conducted research, most of it arranged by producing partner Ingo Fliess of Berlin’s IF Productions, then ran it by several teachers. “Education is a very sensitive topic in Germany,” says Çatak. “If you tackle it, you have to be prepared for the shitstorm, and you have to really do your research, so we talked to a lot of teachers, to psychologists who work in schools and we talked to students, and I went to schools and spent time in classes.”
He laughs as he recounts being back in class. “I sat there and I had the same feeling that I had when I was a student. I felt tired. I wanted to sleep, and I was like, ‘Why is school starting at eight in the morning? Why?”
He adds it’s “a proven fact” that students would learn more if schools would start later, but the reality is most parents need their children dropped off earlier so they can begin work at a contracted time. “School is daycare,” says Çatak.
He remembers his parents telling him never to question what a teacher said. “Nowadays, it’s the opposite. Parents and students are questioning the teachers and teachers have a way more difficult time than they used to have. That’s also because communication has gotten quicker. There were no WhatsApp groups or emails back in the day, but now it’s just any single, tiny thing becomes an issue.”
In the film, a pupil of Turkish descent is singled out as a suspect in the theft. That scene, Çatak says, was inspired by an incident he and Duncker, who have been friends since childhood, observed when they were pupils themselves.
Çatak recalls the story of two boys who were stealing, protected by the knowledge that their classmates would not want to snitch. One day, three teachers ordered Çatak, Duncker and the other children to put their wallets on a table. “So we wrote the scene, and we showed it to working teachers,” he adds. They confirmed similar issues happen “all the time” but said that you could not demand children’s possessions unless they voluntarily give them up.
He sighs as he recalls being singled out “as the Turkish kid growing up in Germany.”
“You do get racially profiled.”
As he dug deeper into life at school, Çatak realized that the film would be about children’s rights. “This is also about how you stand up to a hierarchy that puts you under pressure,” he says.
There are no victims in The Teachers’ Lounge, he adds. “Everybody has to fight and no one backs down. That was the goal of the film.”
And, whoosh! It’s like a nuclear warhead exploding.
“For me as a director, that is a very thankful thing. If you have conflict and you have friction in your scenes, that’s drama. You don’t have to do anything as a director because the actors know what to do. They have a clear goal.”
Fitting in
Çatak was born in Berlin to Turkish parents. For the most part, he was the only “brown kid” in his class. He realized much later in life that he would ”start compensating with certain behaviours “to fit in. “You are just trying to make it work and also be invisible, and you put extra effort in looking good, having everything ironed, so that you are not the foreigner; the odd one out.”
We all have these protective mechanisms that we’re often not aware of when we’re young, and I know exactly what Çatak’s talking about.
I was raised in Richmond, just on the outskirts of London. There was one other Black kid in my school. I used to get stopped by police all the time and just like Çatak, I would learn to dress up so smart that there would have to be a damn good reason for the cops to stop me on my street.
When Çatak was 12 his family moved to Istanbul, returning to Germany when he was 18. His father worked for the postal service and his mother worked in a bank. “We’re basically working class people. My grandparents, who were fabric workers, came to Germany in the early 1970s. They were illiterates and they learned to write and read just in Germany,” Çatak tells me.
Art was not a big thing in the family. “I’m an only child and for them the most important thing was to see me studying,” he recalls.
After high school, he studied economics at university in Berlin. He was unhappy. “I hated it, and my escape was the movie theater. I went to the movies all the time. At some point I went to the job center where you can have a free consultation in what you want to do with your life. And the guy said, “What do you like doing?”
“I said, ‘I like going to the movies.’ And he said, I should should make some. It was as easy as that,” says Çatak, his eyes brightening at the memory.
By this time his friend Duncker was shooting short films, with Çatak performing in them. “We were young and we didn’t know what we were doing,” says Çatak.
Leonard Stettnisch plays a student in ‘The Teachers’ Lounge’
Alamode
But he knew that he would have to tell his parents. “’Guys, I’m quitting my studies to become a PA,’ he told them. And my parents said, ‘What is a PA? What are you doing there?’
“Well, I was basically I’m just blocking streets and making coffee for my bosses and whatnot. They went crazy.”
Part of their anger had to do with the fact that they had paid for his education during the six years they’d spent in Istanbul. “That was a good school and you don’t send your kid to such a school if the kid doesn’t want to study later.”
His parents accused him of “throwing it all away.”
It was the first “really big fight” he’d had with his parents. “I was living in their house, but not for long. I moved out and lived on the couches of friends. My father said, ‘Okay then, just piss off and never come back.”
Çatak applied to films schools and made more short films. He was broke and didn’t know what he was doing with his life. He started selling ice-cream at a parlour in Kreuzberg, using his earnings to finance his short films.
At some point, he made one film that he feels was was a turning point,” both in his career and between father and son.
It started when Çatak returned to the family home for his mother’s birthday. The family started playing a word game and Çatak and his father quarrelled over whether Namibia was a country or a city. Çatak was correct — it’s a country — but he was heartbroken that his father hid the fact he didn’t know.
Çatak and Duncker ended up making a twenty minute film called When Namibia was a City.
His father is the film’s lead.
The director sent me links to several of his shorts and earlier features over the course of our discussions. I watched When Namibiawas a City over and over. It’s not the remotest bit mean about Çatak’s father. The camera seems to love him. Knowing the background, I found watching the short tremendously moving.
Ilker Çatak talks about his father
Baz Bamigboye
The sense that art can help reconcile is so important in our fractured society.
“That film got a lot of invitations to festivals, and I would start travelling with my father to them,” Çatak says with pride.
“My father, who fiercely fought me for becoming a filmmaker, and me would be at those Q&As, and then a film critic made a list of the 10 most remarkable acting performances of that year, and there was my father, along with Robert de Niro.”
He takes a deep breath to keep the emotion at bay. “That was a turning point where he started also believing in me,” says Çatak. “He was the man who worked his life as a postman. I’d had to explain to him in the beginning what it means to be a director, but that was where everything changed and where I also thought, ‘Hey, maybe I’m not too bad at this.’ Things after that evolved, and I kept writing and making short films.”
I wondered about his parents now. Are they still with us?
“Yeah. And they are so proud,” he says with a beaming smile.
He notes how jubilant his parents were when The Teachers’ Lounge won prizes including the Lola in Gold for Best Feature Film at the German Film Awards, along with the awards for best director, actress, screenplay and editing, beating front-runner — and multi-Oscar winner — All Quiet on the Western Front for the top honor.
Germany has submitted The Teachers’ Lounge as its entry in the Academy’s Best International Feature Film category. Çatak’s father has been calling relatives in Anatolia to tell them about the film’s success. “What’s moving to me is the fact that they are moved and happy,” says Çatak.
He thinks back to something Brazil director Terry Gilliam once said about there being two kinds of films: the ones that have a message and the ones that pose a question. ”I prefer posing a question instead of a message,” says Çatak. “I like it when a film upsets me or when a film does not satisfy me, and this is what cinema is to me. It’s a space where I can put together the pieces myself; where I can interpret something.”
The Teachers’ Lounge doesn’t answer its fundamental question, which I won’t spoil here, but it considers the role of guilt. This prompts Çatak to discuss The Anatomy of a Fall, another film that explores similar thematic questions.
He’s a tremendous admirer of Justine Triet’s film because, ultimately, “it’s about how every society needs a scapegoat and how we as a society need these sacrifices in order to keep the machine running.”
But the bigger question to come out of The Teachers’ Lounge has to do with truth, a point to which Çatak nods his head in agreement. He ponders on “how everybody has their own truth, how truth becomes a matter of subjective perception and how everybody tries to make up their own truth. If truth is something that you can bend, then it becomes a matter of belief.”
And we know how dangerous so-called alternative truth has become. That’s why I feel The Teachers’ Lounge will find a receptive audience in the U.S. Çatak jokes that the student newspaper journalists in his film would have put Donald Trump under a spotlight he would not have liked.
‘Best of a generation’
Actors mine a script and extract the most telling material. That’s what Leonie Benesch does as Carla. Çatak hails her as the best of her generation. “She’s a young Isabelle Huppert,” he says. “She’s got something, like a magician. And I actually don’t want to know how the magician does this magic.”
Leonie Benesch
Vivien Killilea/Getty Images for ABA
However, he has ascertained that she combines “a mixture of between concentration and ‘laidback-ness’ in a way that I’ve never seen before. She could come into the room and be completely laid back and relaxed, and then boom, she’s concentrated and on point.”
He’d watched her performance in Michael Haneke’s 2009 Cannes prize winner The White Ribbon and wanted to work with her ever since. In the intervening years, Benesch studied at London’s Guildhall School of Music and Drama, sharpening and honing her talent before landing her role in Çatak’s buzzy film.
But just as integral to The Teachers’ Lounge are the kids that populate its classrooms. They were selected after exhaustive casting sessions, many of which Çatak led.
Those who made the final mix would have interviews with him. “I would talk to them and say, ‘Okay, here are three things. First, we are a family and these are your brothers and sisters, and if any one of us doesn’t feel well, we all take care of that person. Second, I want you to have a work ethic. I want you to go to sleep early. I want you to know your lines. I want you to behave. And third, there are no extras. You aren’t an extra. We are one entity.”
He added one other point to them: “I am not your boss and you are not the kid that I talk to. We are colleagues.”
Çatak’s right to favor provocation in art. It’s fun when a movie makes you mad.
Aamir Khan’s son Junaid’s debut film is a one-of-a-kind David vs Goliath Story Maharaj backed by YRF and Netflix.
Aamir Khan’s elder son Junaid will soon be making his Bollywood debut with Yash Raj Films’ Maharaj. Ahead of the release of his debut film, the starkid has also signed his second movie wherein he’ll be seen opposite Sai Pallavi.
While it was earlier reported that the film will be shot in Japan, a source close to the team recently informed Pinkvilla that the movie will also feature the popular Snow Festival Of Sapporo. “The team saw the famous Snow Festival during their recce, which will also feature in the film as it will see the city of Sapporo set in the winters, and the team absolutely loved it. They were so thrilled by the picturesque landscapes and the unique cultural experience.”
The source also revealed that, apart from Sapporo Junaid also visited the City Hall and also met with Mayor Akimoto. “This interaction not only highlighted the warmth and hospitality of the city but also signifies the growing global reach of Bollywood. Never before has a Hindi film been shot in Sapporo, which makes it an exciting proposition to watch on the big screen.”
Following his passion for acting, Junaid Khan made his debut with theatre in August 2017 with director Quasar Thakore Padamsee’s adaptation of Bertolt Brecht’s ‘Mother Courage and Her Children’, a biting satire on the absurdity of war. Since then the actor has been has been following his passion and honing his craft with years of dedicated and impressive work in theatre and is now finally set for his screen debut with YRF’s Maharaj, followed by this untitled love story with Sai Pallavi as per reports.
Junaid Khan’s debut film is a one-of-a-kind David vs Goliath Story Maharaj. The production house YRF recently confirmed the same, while announcing their collaboration with Netflix for the same. Apart from Junaid Khan’s debut with Maharaj, the film will also star Jaideep Ahlawat, Sharvari & Shalini Pandey. The film has been directed by Siddharth P. Malhotra, whose last film Hichki was a global hit.
Inspired by true events, Maharaj, is an incredible David vs Goliath story set in the 1800s, about how a regular man, journalist by profession, takes on a powerful role-model of society, hailed by many as a messiah for the masses. The fearless reporter uncovers a series of incidents that shake the very foundation of society.
Aditi Giri, Senior Sub-Editor at News18. She is a Bollywood and Biryani enthusiast. She loves talking to your favourite BTown celebrities, and brings …Read More
Olivia Holt as “Teen Pam” in the horror-comedy, TOTALLY KILLER, a Prime Video release. Courtesy of Prime Video
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