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Monday, Oct 19th, 2026
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Shortly after becoming one of the only daytime talk show host to return for the fall amid the Hollywood strikes, Sherri Shepherd has tested positive for COVID and will pause production on “Sherri.”

“Unfortunately, Sherri has tested positive for COVID. The show will return with original episodes as soon as possible,” said a statement posted to the show’s Instagram page. “For the remainder of this week, encore episodes from the beginning of the premiere week will air. The health of our host and entire staff is of the utmost importance.”

The post also included a statement from Shepherd: “I am absolutely heartbroken that I cannot return to host my show this week,” she said. “As soon as I get the all-clear from my doctor, I look forward to coming back strong to deliver the fun, laughter and a real good time.”

“Sherri” returned for a new season on Monday. Unlike “The Drew Barrymore Show,” which received major backlash for announcing its return before reversing that decision, “Sherri” is not covered by the WGA, and because talk shows operate under the SAG-AFTRA Network Code, separate from the contract that covers scripted shows, actors are permitted to continue their hosting duties during the strike. “The Tamron Hall Show” and “Live with Kelly and Mark” have also returned for the fall, though some daytimers in similar positions, such as “The Jennifer Hudson Show” and “The Talk” have still pushed back their originally scheduled premieres. “The View” has also been airing throughout the strike, though the production has been picketed as the show does employ WGA writers.

“There has been so much confusion about who can work and who can’t work. Well, I’m a SAG-AFTRA actress and I actually marched with some of my colleagues while in Los Angeles recently,” Shepherd said on Monday’s show. “But here’s the thing, talk shows in general fall under a different union contract code, so we’re allowed to come back unless you’re a WGA show. The ‘Sherri’ show is not a WGA show and we have never employed WGA writers, so us coming back to work isn’t crossing the picket line.”

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Shortly after becoming one of the only

For the third year in a row, Jack Harlow was named songwriter of the year at the SESAC Music Awards. The performing rights organization’s annual ceremony that recognizes member songwriters and publishers was held on Sept. 19 at The Highlight Room in Los Angeles.

Harlow walked away as the SESAC’s top honoree, additionally awarded song of the year for his “First Class.” Sony Music Publishing was named publisher of the year for the second year in a row, snatching awards for tracks including Harlow’s “First Class,” Nicki Minaj and Fivio Foreign’s “We Go Up”, Kendrick Lamar’s “Count Me Out” and Steve Lacy’s “Mercury.”

Attendees included top music executives, artists, songwriters and publishers including Bryan-Michael Cox, Dixson, Papiyerr, Dontae Winslow and Kenyon Dixon.

Additional writers who were recognized at the ceremony included Daniel Lopatin who grabbed four awards for his work with The Weeknd, Dez Wright for his work with Young Thug and Drake and finally Jimmy Napes for his writing with Sam Smith. 

“We are honored to celebrate our songwriters and publishers across multiple genres,” said Sam Kling CCO of SESAC Performing Rights. “SESAC is proud of its affiliates who continue to write chart-topping hits and we enjoy every opportunity we get to celebrate their achievements.” 

A number of performance awards were awarded to Jimmy Napes for his work on Smith and Kim Petras’ Grammy-award winning collaboration “Unholy” and Malibu Barbie for Nicki Minaj’s “Super Freaky Girl.”

The SESAC is a music licensing organization that administers public performance and mechanical and rights through SESAC Performing Rights. A full list of winners is available at www.sesac.com.

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For the third year in a row,

UPDATED, 9:11 a.m.: After previewing the first trailer for The Hunger Games prequel The Ballad of Songbirds and Snakes at CinemaCon, Lionsgate has unveiled another one teasing Rachel Zegler’s fight for survival in the arena.

The West Side Story actress stars as Lucy Gray Baird, the female District 12 tribute to the 10th Hunger Games, in the new film based on the books by Suzanne Collins, which launches in theaters November 17th. Starring alongside her is Tom Blyth, who portrays Coriolanus Snow, Baird’s mentor in this game of survival who finds himself torn between his duties to the Capitol and Head Gamemaker Dr. Volumnia Gaul (Viola Davis) and burgeoning feelings for his mentee.

Read more about the film below. View the new trailer above.

PREVIOUSLY, APRIL 27: Lionsgate dropped the trailer for its prequel film The Hunger Games: The Ballad of Songbirds and Snakes at CinemaCon today. It’s a first look at tribute Lucy Gray Baird (Rachel Zegler) and Coriolanus Snow (Tom Blyth), with Peter Dinklage as the vindictive Casca Highbottom, Dean of the Academy, creator of the Hunger Games. Viola Davis is Head Gamemaker Volumnia Gaul. Watch the trailer above.

It’s the annual reaping ceremony of the 10th annual games, set 64 years before the first film. Lucy represents impoverished District 12 and 18-year-old Coriolanus Snow is her unwilling — at first — mentor. He’s much more conflicted in his views in this film, decades before he becomes Panem’s tyrannical president. “There have been some changes this year,” he is told. “Your role is to turn these children into spectacles, not survivors.”

RELATED: CinemaCon 2023 – Deadline’s Full Coverage

But after Lucy commands all Panem’s attention by defiantly singing during the reaping ceremony, Snow thinks he might be able to turn the odds in their favor. Uniting their instincts for showmanship and newfound political savvy, Snow and Lucy’s race against time to survive ultimately will reveal who is a songbird and who is a snake.

Like the previous films, themes here are freedom and tyranny, good and evil, how both can co-exist and why people chose one over the other. “There is natural goodness built into all a us. We can step across that line into evil — or not,” says Lucy. Panem is full of cranes and construction — rebuilding a decade after a brutal civil war.

RELATED: CinemaCon 2023 Photos: Rihanna, Melissa McCarthy, Timothée Chalamet, Zendaya, Ryan Gosling, Oprah, Emily Blunt & More

The prequel in the $3 billion-grossing global franchise will hit theaters around the world on November 17. Hunger Games franchise sequel producer Francis Lawrence directed and also will produce with the series producers Nina Jacobson and Brad Simpson. Hunger Games author Suzanne Collins, Tim Palen and Jim Miller are EPs. 

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UPDATED, 9:11 a.m.: After previewing the first

As someone about to celebrate her first wedding anniversary, I can confidently say that planning a wedding is hell on Earth. But thanks to my close friends, the stress was a little easier to handle, especially when it came to the bachelorette party. In the new film KillHer, director Robyn August looks at the hell of wedding planning through the lens of a killer slasher.

Read the full synopsis:

Mattie and her three besties—Eddie, Jess, and Rae—head into the woods for a weekend to plan Mattie’s upcoming wedding and bachelorette party. Eddie, Mattie’s roommate and an unrelenting practical joker, leads them to believe they will be setting up camp near Mattie’s hunky fiancé, Jagger, and his friends. They soon realize the tent they’ve snuggled up next to belongs to a mysterious recluse named Mr. Rogers, rather than Jagger, and this is definitely his neighborhood!

With zero cell reception and only a literal pot to piss in, their weekend camping trip is beginning to look like a bad idea for these unhappy campers. But it only gets worse when people start to die and a terrible secret is revealed. All these girls wanted was a killer pre-bachelorette party… and that’s exactly what they got.

Watch the trailer below:

M.C. Huff (Breakfast with Jenny), Emily Hall, Jenna Z. Alvarez (Shook), Nicole Lovince (Pitch Perfect), Tom Kiesche (Breaking Bad), Harrison White (Venice the Series), Jack Schumacher (Top Gun: Maverick), and Ron Rogge (Stranger Things) star in the film.

KillHer comes to select theaters and digital platforms on October 20, 2023, from Dark Sky Films.


Categorized: News

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As someone about to celebrate her first

Raghav Chadha and Parineeti Chopra are gearing up for their grand wedding in Rajasthan on September 24. The preparations are in full swing for their big fat Indian wedding, which includes various traditional functions and festivities. On Wednesday, a Sufi night was organised at Raghav Chadha’s residence In Delhi. While Parineeti’s first cousin Priyanka Chopra is yet to touchdown Delhi, her mother, Parineeti’s aunt Madhu Chopra and her her son, Siddharth Chopra have arrived in Delhi to take part in the festivities. Madhu Chopra looked resplendent in a white salwar suit with ruffled details.

As the wedding date approaches, videos and pictures of Raghav Chadha’s home getting decorated are going viral. The groom’s house is being decked up for pre-wedding rituals like Ardas and Kirtan, with trucks delivering materials spotted outside his residence.

The Ishaqzaade actress was recently seen at Delhi airport, where her fiancé Raghav Chadha came to pick her up. They both wore blue shirts, and she had a black cap with an R on it. They plan to have some family gatherings before heading to Udaipur for the big wedding celebration.

As Raghav Chadha’s Delhi home gets decorated, Parineeti Chopra’s Mumbai residence is also getting ready for their wedding with bright lighting decorations. A video from a paparazzi page showed the balcony of the actress’s apartment adorned with festive lights in a tall building.

Earlier today, photos from their ardas ceremony went viral. Parineeti wore a lovely blush pink suit with elegant accessories, while Raghav matched her in his pink-beige outfit. They happily held hands and smiled while taking photos with friends or family. News18 got access to their wedding invite and it seems like the couple is preparing for a massive wedding ceremony. The wedding card has confirmed that the couple has chosen the Taj Leela Palace in Udaipur for the wedding ceremony and it is set to be a two-day grand affair.

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Raghav Chadha and Parineeti Chopra are gearing

Singer-songwriter Sufjan Stevens revealed Wednesday that he has been hospitalized due to being diagnosed with the autoimmune disorder Guillain-Barré syndrome.

Stevens shared the news with his fans in a post on his website on Wednesday morning.

“Last month I woke up one morning and couldn’t walk. My hands, arms and legs were numb and tingling and I had no strength, no feeling, no mobility,” he wrote. “My brother drove me to the ER and after a series of tests — MRIs, EMGs, cat scans, X-rays, spinal taps (!), echo-cardiograms, etc. — the neurologists diagnosed me with an auto immune disorder called Guillian-Barré Syndrome.”

According to the World Health Organization, in Guillain-Barré syndrome, the body’s immune system attacks the peripheral nervous system, which can affect nerves that control muscle movement and can result in muscle weakness, loss of sensation in the limbs and problems swallowing or breathing.

The Grammy-nominated artist added that he had been “stuck in bed” in the hospital for weeks while a medical staff worked on stabilizing his condition. He called the experience “very scary.”

For the past few weeks, Stevens has been undergoing “intensive physical therapy/occupational therapy, strength building etc. to get [his] body back in shape and to learn to walk again.”

The “Mystery of Love” singer has kept an optimistic mindset throughout the process.

“Most people who have GBS learn to walk again on their own within a year, so I am hopeful,” he wrote. “I’m only in my second week of rehab but it is going really well and I am working really hard to get back on my feet. I’m committed to getting better, I’m in good spirits, and I’m surrounded by a really great team. I want to be well!”

Stevens also noted that his medical setbacks have prevented him from promoting the release of his highly anticipated 10th album, “Javelin,” which is scheduled for an Oct. 6 drop.

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Singer-songwriter Sufjan Stevens revealed Wednesday that

Avengers fans assemble! This month as part of the Disney100 festivities we are celebrating The Wonder of Marvel!  September is the perfect month to celebrate your favorite Marvel stories and characters.  You can celebrate while watching your favorite Marvel films, reading your favorite comic, cosplaying your favorite character, or by picking up some magnificent merch. 

Need some inspiration? That’s where we come in.  Check out a handful of our favorite ways to celebrate The Wonder of Marvel! 

Avengers 60th Anniversary

This year marks the 60th Anniversary of the Avengers and you can commemorate the occasion in a myriad of EPIC ways!  Here are a few suggestions: 

Iron Man- DIFF Charitable Eyewear

Unleash your inner Tony Stark with the cutting-edge vibes of these awesome sunglasses.  They feature an ultra-modern look.  Notice the sleek lines, metal frames, and polarized lenses.  A true statement piece directly by Iron Man’s body armor and tech, thanks to angular shapes and laser-etched lens details. 

The glasses retail for $98.00 and you can find them here. 

Let’s take Iron Man back to its origins with the new Iron Man (Model 01) Figure from the Hasbro Marvel Legends Series.  This collectible 6-inch scale Marvel Legends Avengers 60th Anniversary action figure is detailed to look like the Iron Man character from Marvel’s Tales of Suspense comics.  The figure features multiple points of articulation and comes with six accessories. 

This figure retails for $27.99 and you can get yours online at Hasbro PULSE here. 

Avengers Sling Bag by Heroes & Villains – 60th Anniversary

Check out what we are sure will be your new go-to bag.  Celebrate the 60th Anniversary of Marvel’s Avengers with this new sling bag by Heroes & Villains has everything you need for a super-heroic accessory.  Highlights of the bags include handy pockets, padded back, adjustable shoulder strap, and cool screen art patch appliques.  

The bag features an “Avengers Assemble Since 1963” patch applique, “Beyond Earth’s Mightiest, Est ’63, 60 Years” patch applique and Avengers Assemble printed on clasp.  Other highlights include a double zip main compartment, mesh side pocket, slip side pocket, padded back, adjustable padded shoulder strap, top and bottom carry handles, and compression straps.  The bag is fully lined. 

The sling bag retails for $68.00 and you can find more details here. 

LEGO Captain American’s Shield

Adult Marvel enthusiasts can show off your master builder skills with this recreation of one of the most iconic items in the Marvel Cinematic Universe. The LEGO Marvel Captain America’s Shield is a detailed 3,128 model that measures over 18.5 inches in diameter and rests on a stand complete with a nameplate.  A small Captain America shield is also included in the set. 

The Captain America Shield retails for $199.99 and you can get it here. 

The Avengers Quinjet

Also for Marvel fans is this Avengers Quinjet build.  Construct an authentic recreation of the famous Super Hero aircraft for kids aged 9 and up to build, display, and travel the universe on endless Avengers adventures. The set features an opening cockpit, passenger area and rear section.  Also, note the retractable undercarriage and adjustable wings.  The set also comes with multiple accessories and five mini figures: Black Widow, Thor, Iron Man, Captain America and Loki.  The Avengers Quinjet also comes with 2 sticker sheets so that you can decorate your aircraft with Avengers and S.H.I.E.L.D insignias.  

The set retails for $99.99 and you can get it online here. 

Super Hero Fun for Kids

Your little ones can also get in on the Marvel celebrations with some incredible merchandise.  We’ve got everything from tiny-tot-friendly playsets to awesome apparel. Let’s take a closer look: 

Marvel Mech Strike Mechasaurs, 4-Inch Iron Man with Iron Stomper Mechasaur Action Figures, Super Hero Toys for Kids Ages 4 and Up

Some of our favorite Marvel heroes are teaming up with the Mechasaurs to defeat Ultron and his prehistoric new world order.  Now your favorite Marvel heroes can defeat their enemies with a combination of superpowers and dino powers.  Kids age four and up can play as your favorite Mech Strike Mechasaur superhero (or villain!)  This 4-inch scale action figure features poseable limbs and includes a Mechasaur figure kids can take apart to form a mech suit.  Accessories that come with the set include a blaster and projectile so you can play out exciting battles against Ultron. 

Marvel Stunt Squad and Captain America vs. Thanos Tower Smash Playset

Marvel Stunt Squad Tower Smash Playset is a gamified action figure set that tiny tots are sure to love. These small-scale superhero figurines are ready for action-packed fun.  The Marvel Stunt Squad Tower Smash Playset includes two 1-inch scale figures, a launcher and destructable target base that kids can rebuild to discover multiple ways to take those bad guys down. 

The Marvel Stunt Squad playset retails for $16.99 and you can get it at Target here. 

Peter Parker and Miles Morales Join Forces With New Spider-Man 2 Playstation Collection 

We’ve got something for all of your Spider-Man fans! Beginning on October 20th, Marvel’s Spider-Man 2, the next chapter in Marvel’s Spider-Man story will be coming exclusive to PS5.  You can take your gaming experience to the next level by picking up the Marvel’s Spider-Man 2 Collector’s Edition.  This set includes the full-game, early-unlock suits, gadgets and skill points. The set also comes with a 19″ collector’s edition statue featuring Peter Parker and Miles Morales liked in battle with Venom!  

To give you a taste of the new game you can check out the Story Trailer below: 

 

The Spider-Man 2 Collector’s Edition retails for $229.99 and you can order yours here. 

Readers are encouraged to keep following along with MickeyBlog for further Walt Disney World news and updates. We’ll be coming to you LIVE! from the theme parks each and every week. 

Have you heard the news? MickeyTravels just earned the incredible distinction of being a Diamond Earmarked Agency! 

Whether it’s a visit to the theme parks, a Disney cruise, a stay at Aulani in Hawaii or the trip of a lifetime with Adventures by Disney, I can’t wait help you plan your vacation utilizing all of our incredible concierge-level services. This includes discount monitoring, itinerary planning, flexible booking and so much more.  Best of all my services are 100% FREE!

Find out more or get your FREE no-obligation quote at mroden@mickeytravels.com at 1.800.801.4025 or via Facebook

 

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Avengers fans assemble!

Summary

  • Gustin’s portrayal of The Flash in the Arrowverse had a funnier and less awkward first run compared to Miller’s version in the DCEU film.
  • The Flash series did a better job explaining how Barry Allen acquired and used the iconic Flash ring, while the movie left this detail unexplained.
  • The chemistry and relationship between Gustin’s Barry Allen and Iris West was stronger and more developed in the Arrowverse compared to Miller’s awkward interactions with Iris in the movie.

The Flash may be the Scarlet Speedster’s biggest cinematic outing to date, but there are still several things that Grant Gustin’s version of the hero in the Arrowverse did better than Ezra Miller’s Barry Allen in the DCEU. Gustin was the first of the two to give life to Barry Allen, with the actor leading nine seasons of The Flash series before Miller got to star in a single solo movie as DC’s most famous speedster. Interestingly, the two actors’ time as The Flash is intertwined, as Miller got announced as the DCEU’s Barry Allen just a week after Gustin’s Arrowverse series premiered, with Miller leading The Flash‘s cast just a couple of months after Gustin finally hung up his Flash costume.

Unfortunately, The Flash ended up as one of the DCEU’s more disappointing films and also became one of DC’s biggest box office disappointments in history. A lot of the criticism regarding The Flash went toward its subpar CGI and unconventional choices of multiverse cameos, the latter of which omitted Gustin’s Barry Allen. Despite not playing a role in The Flash‘s multiverse story, Gustin’s version of The Flash went through many of the things that Miller’s Barry did in the movie. Here are 10 moments in The Flash that Gustin’s Barry did better in the Arrowverse.

Related: The Flash: 28 Easter Eggs & DC Movie References

10 The Flash’s First Run

The Flash features Miller playing two versions of Barry Allen due to the hero’s time travel adventure. When the younger Barry gets his powers, the character proceeds to have fun with his speed, which awkwardly shifts to him running all over Central City naked due to his clothes being burned away by friction. In the Arrowverse’s The Flash series, Gustin’s Barry Allen has a funnier and less awkward first run. Barry is dealing with his hand strangely shaking, which leads to him discovering his super speed. Barry then tries out his new power, only to fall straight into a laundry van, saying, “Awesome.”

Related: What’s Next After The Flash? Everything We Know The Flash 2

9 Barry’s First Time Using The Flash Ring

ezra miller as barry allen aka the flash with the flash costume ring

The Flash ring containing the hero’s suit is a major trademark of the character in the comics, and both Gustin and Miller’s Barry Allens possess the item. However, there is a clear difference between the two heroes where the ring is concerned. While The Flash series has Barry get his The Flash ring from Norah West-Allen — his daughter who comes from the future to meet him — Miller’s Barry Allen simply has the ring in The Flash. A tie-in comic reveals it was given to him by Bruce Wayne, but that detail is left out of the movies.

8 The Flash’s First Time Travel

Custom image of Grant Gustin's Barry Allen on the left with his face visible and The Flash running away from the camera, with lots of lightining behind, on the right.

Time travel plays a big role in both The Flash movie and series, but Gustin’s Barry Allen has the best first time travel. In the Arrowverse, The Flash tries to stop a tsunami caused by the second Weather Wizard, and while running as fast as he can to save Central City, Barry ends up shockingly time-traveling for the first time. In The Flash movie, Miller’s Barry Allen time travels as he starts running in the middle of a street alone, with no immediate threat forcing him to break the space/time barrier. His time travel in Zack Snyder’s Justice League is better but may or may not be DCEU canon.

7 Gustin’s Barry Has A Better Relationship With Iris

Barry and Iris West The Flash season 5 episode 5

While the Arrowverse has had more time to flesh out Barry and Iris’ relationship to the point that they are a married couple and parents, the relationship between the two was strong from the get-go, with Gustin and Candice Patton having extraordinary onscreen chemistry. In The Flash movie, the first time the DCEU’s Barry and Iris interact in canon as Iris was cut from 2017’s Justice League, Miller’s Barry Allen has mostly awkward interactions with Kiersey Clemons’ Iris West. While the chemistry between both characters could have been built up in a possible The Flash sequel, it was not instantly magnetic like in the Arrowverse.

6 Fighting His Evil Self

The Flash Season 3 Savitar

The Flash season 3 saw Barry Allen discover that the evil Savitar, who was meant to kill Iris, was none other than an evil version of himself. Close to The Flash movie’s ending, it is revealed that the ominous Dark Flash is none other than the young Barry after he went mad trying repeatedly to stop Batman and Supergirl from dying. While the reveal of Dark Flash’s identity was cool, the villain was beaten way too easily and fast. Savitar’s tragic connection to Barry and the fear of him killing Iris at a set date made the villain a much bigger threat than Dark Flash.

5 The Arrowverse Features Ezra Miller’s The Flash

The-Flash-Grant-Gustin-Ezra-Miller-Arrowverse-DCEU

One of the biggest complaints about the DCEU movie was that The Flash‘s multiverse cameos didn’t include Gustin’s Barry Allen, which would have been such an obvious choice, as the movie decided to feature alternate versions of Batman and Superman and only a generic Golden Age Flash instead. The Arrowverse did a much better job in that regard, with the DC TV’s Crisis on Infinite Earths crossover event bringing together Gustin and Miller’s versions of The Flash, with the DCEU hero even getting the idea for his name from the Arrowverse Barry. Sadly, The Flash movie didn’t pay off that interaction.

4 Grant Gustin’s The Flash Did Legacy Cameos Better

Barry Allen and Jay Garrick stand together in Flash

Past DC actors — multiple of whom are no longer alive — returned as their iconic heroes in The Flash movie. Those cameos included Christopher Reeve’s Superman and Adam West’s Batman with egregious CGI models. Gustin’s Arrowverse series did a much better job with its legacy cameos, casting actors such as past TV Flash John Wesley Shipp and Trickster actor Mark Hamill, the latter playing his same character from Shipp’s The Flash series. Shipp would play multiple roles in the show, including Henry Allen, Jay Garrick, and even his Barry Allen from the 1990 The Flash show, with the Arrowverse doing a better job at honoring legacy actors than The Flash movie.

3 Gustin’s Barry Allen Has Better Interactions With Supergirl

Supergirl The Flash Behind the Scenes Featurette Pose

While The Flash movie’s marketing heavily promoted the debut of Sasha Calle’s Supergirl, the hero was barely in the film. Calle’s Supergirl was not the most talkative, with her stoic personality contrasting with Miller’s vibrant Barry Allens, and they shared little chemistry. That could not be further from the Arrowverse’s case. Gustin’s Barry was the first hero to meet Melissa Benoist’s Kara Danvers, with The Flash and Supergirl growing to form a tight bond in the Arrowverse. Both Gustin and Benoist’s heroes share the same bubbly personality, which led to their interactions always being a delight, with the two even appearing together on a musical crossover.

2 The Arrowverse Actually Uses The Flash’s Rogues

The Flash Weather Wizard Trickster Captain Cold

The Flash movie’s opening featured Miller’s The Flash, Ben Affleck’s Batman, and Gal Gadot’s Wonder Woman dealing with a group of criminals from Gotham City, which could have been made better if the movie had actually decided to use The Flash’s most famous villain group, the Rogues. In the DCEU, Miller’s The Flash only briefly fought one of the Rogues, Captain Boomerang, in Suicide Squad. While mostly in its early seasons, Gustin’s The Flash fought several of the Rogues, including characters like Captain Cold, the Trickster, Weather Wizard, and Captain Boomerang. The Arrowverse series gave the villain team a much bigger focus than the DCEU did.

1 Barry’s Mother Getting Killed Is More Emotional In The Arrowverse

Barry Allen is with Nora when she dies The Flash

The night Barry Allen’s mom died has been revisited many times throughout The Flash‘s nine seasons, with the first leg of the show’s four-part series finale revisiting that scene yet again. In the series, Nora Allen’s death scene is actually shown, unlike in The Flash movie, with the Reverse-Flash being revealed to be her killer. The Flash season 9 finally revealed that the last season’s Barry was the future version of Gustin’s character that went back in time to fight the Reverse-Flash and save his younger self that tragic night, making things come full circle, which is more impactful than how the DCEU’s The Flash handled that moment.

Key Release Dates

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Summary Gustin's portrayal of The Flash

Just a few years ago, Nintendo was at a crossroads. The Wii U was languishing well in third place in the console wars and, after considerable pressure, the company was making its first tentative steps into mobile gaming with Miitomo and Super Mario Run. Fast-forward to today: The Switch is likely on the way to becoming the company’s best-selling “home console” ever, and seven Switch games have outsold the Wii U console. Everything’s coming up Nintendo, then, thanks to the Switch’s unique hybrid format and an ever-growing game library with uncharacteristically strong third-party support.

However, the Switch’s online store isn’t the easiest to navigate, so this guide aims to help the uninitiated start off on the right foot and find the best Nintendo Switch games for them. These are the titles you should own — for now. We regularly revise and add to the list as appropriate. Oh, and if you’ve got a Switch Lite, don’t worry: Every game on the list is fully supported by the portable-only console.

Animal Crossing: New Horizons

Animal Crossing: New Horizons is the best game in the series yet. It streamlines many of the clunky aspects from earlier games and gives players plenty of motivation to keep shaping their island community. As you’d expect, it also looks better than any previous entry, giving you even more motivation to fill up your virtual home and closet. The sound design reaches ASMR levels of brain-tingling comfort. And yes, it certainly helps that New Horizons is an incredibly soothing escape from reality when we’re all stuck at home in the midst of a global pandemic.

Bayonetta 3

Bayonetta 3 is a delicious amplification of the series’ most ridiculous themes. It indulges in absurdity without disrupting the rapid-fire combat or Bayonetta’s unrivaled sense of fashion and wit. Bayonetta 3 is joyful, mechanically rich and full of action, plus it allows players to transform into a literal hell train in order to take down massive beasts bent on destroying the multiverse. Bayonetta elegantly dances her way through battles, dropping one-liners and shooting enemies with her gun shoes in one moment, and turning into a giant spider creature the next.

The Bayonetta series just keeps getting weirder, but that doesn’t mean it’s losing its sense of satisfying gameplay along the way. In the franchise’s third installment, Bayonetta is powerful, confident and funny; she’s a drag queen in a universe loosely held together by witchcraft, and the chaos of this combination is truly magical.

Neon White

Like all good games, Neon White is simple to learn, and difficult to master. The basic ask is that you vanquish every demon from a level and head to a finish marker. It plays like a fast-paced first-person shooter, with the complexity coming from your weapons, which are cards that can either fire or be spent for a special movement or attack ability. The real challenge comes from the scoring system, which grades you based on the time you took to complete a level.

There are just shy of 100 levels, all begging to be learned, repeated and perfected. Despite its first-person shooter visuals, it plays out more like a cross between Trackmania and a platformer. You’ll quickly turn that bronze medal into a gold, and then an “ace” that is supposedly your ultimate target. Then you’ll see the online leaderboards and realize you’ve left some seconds on the table. Then you’ll randomly achieve the secret red medal on a level, say “oh no” and realize that there’s a hidden tier of perfection for you to attain. – Aaron Souppouris, Executive Editor

Paramormasight

If you enjoy visual novels, diverging storylines and maintaining a near-constant level of vigilance to everything a game tells you, Paranormasight is a wild ride. Paranormasight: The Seven Mysteries of Honjo ties together nine (don’t ask) Japanese folktales, spirits, curses and, well, ukiyoe block prints. You’ll hop between multiple characters once you’ve completed the tutorial-style first story, although you’ll inevitably return to this one in the search of clues and hints. Even the style of presentation fits in with the Japanese Twilight Zone vibe. The illustrations have frayed red, blue and green outlines that imitate old TVs. You’ll confront others who hold lethal curse powers creating anime-style stand-offs, as you either try to sneak your way out of danger or get other curse-bearers to fall into your trap. Eventually, it all comes together to a smart conclusion, and we hope there are further Paranormasight chapters to come. — Mat Smith, UK Bureau Chief

Metroid Prime Remastered

Metroid Prime Remastered modernizes one of Nintendo’s greatest games, overhauling its models, textures and lighting for HD (while staying at a locked 60 fps) and adding a more comfortable dual-stick control scheme. It leaves the core game alone otherwise, which is a very good thing. Metroid Prime remains a masterwork in atmosphere, one that captures the wonder and isolation of encountering an alien world through someone else’s eyes. Though there is some combat as bounty hunter Samus Aran, this is more of a first-person exploration game than a first-person shooter. Some 20 years on, slowing down and taking in the world of Tallon IV’s details remains entrancing. — Jeff Dunn, Senior Commerce Writer

Kirby and the Forgotten Land

Kirby and the Forgotten Land brings Nintendo’s lovable pink blob into 3D. Its structure is far less open and fluid than Super Mario Odyssey, but the game is similarly playful in spirit. The big hook is “mouthful mode,” wherein Kirby swallows and assumes the form of certain objects to get through specific stages. Apart from simply being amusing – enjoy “Coaster-Mouth Kirby” or “Bolted-Storage-Mouth Kirby” – the way this repurposes ordinary materials and presents new sensations is delightful. “Pipe Mouth Kirby” turns a pipe in a rolling cylinder of destruction, “Water-Balloon Mouth Kirby” turns you into a giant wobbly mass, and so on. While it starts recycling by the end, most of the game parades through new ideas in that classic Nintendo way. Though the story isn’t Pulitzer stuff, its ending is wonderfully absurd. And like most Kirby games, it’s breezy enough for folks of all skill levels but not a total cakewalk on the default difficulty. — J.D.

Astral Chain

I was on the fence about Astral Chain from the day the first trailer came out until a good few hours into my playthrough. It all felt a little too generic, almost a paint-by-numbers rendition of an action game. I needn’t have been so worried, as it’s one of the more original titles to come from PlatinumGames, the developer behind the Bayonetta series, in recent years.

In a future where the world is under constant attack from creatures that exist on another plane of existence, you play as an officer in a special force that deals with this threat. The game’s gimmick is that you can tame these creatures to become Legions that you use in combat. Encounters play out with you controlling both your character and the Legion simultaneously to deal with waves of mobs and larger, more challenging enemies. As well as for combat, you’ll use your Legion(s) to solve crimes and traverse environments.

Astral Chain sticks closely to a loop of detective work, platforming puzzles and combat — a little too closely, if I’m being critical — with the game split into cases that serve as chapters. The story starts off well enough but quickly devolves into a mashup of various anime tropes, including twists and arcs ripped straight from some very famous shows and films. However, the minute-to-minute gameplay is enough to keep you engaged through the 20-hour or so main campaign and into the fairly significant end-game content.

Does Astral Chain reach the heights of Nier: Automata? No, not at all, but its combat and environments can often surpass that game, which all-told is probably my favorite of this generation. Often available for under $50 these days, it’s well worth your time.

Celeste

Celeste is a lot of things. It’s a great platformer, but it’s also a puzzle game. It’s extremely punishing, but it’s also very accessible. It puts gameplay above everything, but it has a great story. It’s a beautiful, moving and memorable contradiction of a game, created by MattMakesGames, the indie studio behind the excellent Towerfall. So, Celeste is worth picking up no matter what platform you own, but its room-based levels and clear 2D artwork make it a fantastic game to play on the Switch when on the go.

Dragon Quest XI S: Echoes of an Elusive Age

  • DRAGON QUEST XI S – Echoes of an Elusive Age – Definitive Edition – [Switch Digital Code]

Dragon Quest XI is an unashamedly traditional Japanese role-playing game. Most of the characters are established RPG tropes: mute protagonist-who’s-actually-a-legendary-hero, sister mages, mysterious rogue and the rest. Then there’s the battle system, which has rarely changed in the decades of the series. (There’s a reason that this special edition features a 16-bit styled version of the game: The mechanics and story work just as well in more… graphically constrained surroundings.) While the story hits a lot of familiar RPG beats, everything takes an interesting turn later on. And through it, the game demands completion. RPGs require compelling stories, and this has one. It just doesn’t quite kick in until later.

This eleventh iteration of the series also serves as a celebration of all things Dragon Quest. Without getting too deep into the story, the game heavily references the first game, taking place in the same narrative universe, just hundreds of years later.

The Switch edition doesn’t offer the most polished take on the game — it’s available on rival consoles — but the characters, designed by Akira Toriyama of Dragon Ball fame, move around fluidly, in plenty of detail despite the limits of the hybrid console. And while it’s hard to explain, there’s also something just plain right about playing a traditional JRPG on a Nintendo console.

Fire Emblem: Three Houses

Fire Emblem: Three Houses is a must-play game. Developer Intelligent Systems made a lot of tweaks to its formula for the series’ first outing on the Nintendo Switch, and the result of those changes is a game that marries Fire Emblem’s dual personalities in a meaningful and satisfying way. You’ll spend half your time as a master tactician, commanding troops around varied and enjoyable battlefields. The other half? You’ll be teaching students and building relationships as a professor at the finest school in the land.

Hades

Hades was the first early access title to ever make our best PC game list, and the final game is a perfect fit for Nintendo’s Switch. It’s an action-RPG developed by the team behind Bastion, Transistor and Pyre. You play Zagreus, son of Hades, who’s having a little spat with his dad, and wants to escape from the underworld. To do so, Zagreus has to fight his way through the various levels of the underworld and up to the surface. Along the way, you’ll pick up “boons” from a wide range of ancient deities like Zeus, Ares and Aphrodite, which stack additional effects on your various attacks. Each level is divided into rooms full of demons, items and the occasional miniboss.

As Hades is a “roguelike” game, you start at the same place every time, with the levels rearranged. With that said, the items you collect can be used to access and upgrade new weapons and abilities that stick between sessions. Hades initially caught our attention just for its gameplay: You can jump in for 30 minutes and have a blast, or find yourself playing for hours. As the game neared its final release, the storytelling, world-building and its general character really started to take shape — there’s so much to do, so many people to meet and even some romance stuffed in there. You could play for hundreds of hours and still have fun.

Hollow Knight

This was a real sleeper hit, and one of very few Kickstarter games to not only live up to but exceed expectations. Hollow Knight is a 2D action-adventure game in the Metroidvania style, but it’s also just a mood. Set in a vast, decrepit land, which you’ll explore gradually as you unlock new movement and attack skills for your character, a Burtonesque bug-like creature. Short on both dialogue and narrative, the developers instead convey a story through environment and atmosphere, and it absolutely nails it.

You’ll start out feeling fairly powerless, but Hollow Knight has a perfect difficulty curve, always allowing you to progress but never making it easy. For example, it borrows the Dark Souls mechanic where you’ll need to travel back to your corpse upon death to retrieve your “Geo” (the game’s stand-in for Souls), which is always a tense time. Throughout it all, though, the enemies and NPCs will never fail to delight. For a moody game, it has a nice sense of humor and levity imbued mostly through the beautifully animated and voiced folks you meet. Given its low cost and extremely high quality, there’s really no reason not to get this game. Trust us, it’ll win you over.

Into The Breach

When is a turn-based strategy game not a turn-based strategy game? Into the Breach, an indie roguelike game where you control mechs to stem an alien attack, defies conventions, and is all the better for it. While its core mechanics are very much in the XCOM (or Fire Emblem, for that matter) mold, it’s what it does with those mechanics that’s so interesting. A traditional turn-based strategy game plays out like a game of chess — you plan a move, while predicting what your opponent will do in return, and thinking ahead to what you’ll do next, and so on, with the eventual goal of forcing them into a corner and winning. At the start of every Into the Breach turn, the game politely tells you exactly what each enemy character is going to do, down the exact square they’ll end on and how much damage they’ll inflict. There are no hit percentages, no random events, no luck; each turn is a puzzle, with definitive answers to how exactly you’re going to come out on top.

Into the Breach battles are short, and being a roguelike, designed to be very replayable. Once you’ve mastered the basics and reached the end, there are numerous different mechs with new attack and defense mechanics to learn and master as you mix-and-match to build your favorite team. If you’re a fan of either puzzle or turn-based strategy games, this is a must-have.

The Legend of Zelda: Breath of the Wild

The Legend of Zelda: Breath Of The Wild signals the biggest shift in the series since the Nintendo 64’s Ocarina of Time, and it might well be one of the best games of the past decade. It pulls the long-running series into modern gaming, with a perfectly pitched difficulty curve and an incredible open world to play with. There’s crafting, weapons that degrade, almost too much to collect and do and a gentle story hidden away for players to discover for themselves. Even without the entertaining DLC add-ons, there’s simply so much to do here and challenges for every level of gamer.

The Legend of Zelda: Tears of the Kingdom

The Legend of Zelda: Breath of the Wild was a wild reinvention for one of Nintendo’s most revered franchises, and it didn’t take long for the company to announce it had a direct sequel in the works. The end result is Tears of the Kingdom, a game that remixes BotW in some completely unexpected ways. You’re still exploring Hyrule and can travel to almost any point you can see, and there are still dozens of small shrines to clear and bigger quests you can tackle in any order you like.

But there’s also a vast underworld as well as a mysterious sky world full of islands to explore, and these new locales provide fresh challenges and dangers distinct from what you find in Hyrule proper. And Link has several new skills to give him the upper hand, including, well, Ultrahand. This lets you grab almost anything and stick it to other objects, letting you build all manner of contraptions, both practical and absurd. Ultrahand opens up a huge variety of solutions to every puzzle you come across in the game, and the moment when you find the right solution to what’s impeding you is even more satisfying than it is in past Zelda games. Tears of the Kingdom simply takes just about everything that was great about Breath of the Wild and ratchets it up to the next level. — Nathan Ingraham, Deputy Editor

Disco Elysium Final Cut

Disco Elysium is a special game. The first release from Estonian studio ZA/UM, it’s a sprawling science-fiction RPG that takes more inspiration from D&D and Baldur’s Gate than modern combat-focused games. In fact, there is no combat to speak of, instead, you’ll be creating your character, choosing what their strengths and weaknesses are, and then passing D&D-style skill checks to make your way through the story. You’ll, of course, be leveling up your abilities and boosting stats with items, but really the game’s systems fall away in place of a truly engaging story, featuring some of the finest writing to ever grace a video game.

With the Final Cut, released 18 months after the original, this extremely dialogue-heavy game now has full voice acting, which brings the unique world more to life than ever before. After debuting on PC, PS5 and Stadia, Final Cut is now available for all extant home consoles – including Nintendo’s Switch. Loading times are a little slower than on other systems, so it might not be the absolute best platform to play it on, but Disco Elysium is an experience unlike the rest of the Switch library, which is why it makes it on this list.

Mario Kart 8 Deluxe

  • Mario Kart 8 Deluxe – Nintendo Switch [Digital Code]

Mario Kart 8 Deluxe’s vibrancy and attention to detail prove it’s a valid upgrade to the Wii U original. Characters are animated and endearing as they race around, and Nintendo’s made bigger, wider tracks to accommodate up to 12 racers. This edition of Mario Kart included gravity-defying hover tires and automatic gliders for when you soar off ramps, making races even more visually thrilling, but at its core, it’s Mario Kart — simple, pure gaming fun. It’s also a great showcase for the multitude of playing modes that the Switch is capable of: Two-player split-screen anywhere is possible, as are online races or Switch-on-Switch chaos. For now, this is the definitive edition.

OlliOlli World

OlliOlli and its sequel, OlliOlli 2: Welcome to Olliwood, were notoriously difficult to master. They were infuriating, but also extremely satisfying when you pulled off just the right combo of tricks and grinds needed for a big score.

I was worried that OlliOlli World’s colorful and welcoming new direction for the series was going to dispense with that level of challenge, but I shouldn’t have been concerned. Developer Roll7 made a game that’s significantly more approachable than the original titles — but one that keeps the twitch-response gameplay and score-chasing highs intact for those who crave them.

It’s hard to sum up exactly what makes OlliOlli World so compelling, but the game mixes serious challenges with moments that let you really get into that elusive flow state, where you’re just pulling off tricks, riding rails and generally tearing through a course without thinking too much about what you’re doing. The music, sound effects, art style, level design and variety of moves you can pull off all contribute to this vibe — and even though the game looks entirely different from its predecessors, the end result is the same: skateboarding bliss.

Super Mario 3D World + Bowser’s Fury

Super Mario 3D World was unfairly slept on when it originally launched in 2013, mostly due to the fact very few people had a Wii U. It’s a superb translation of old-school retro Mario mechanics into 3D (Mario 64 is a masterpiece, yes, but unless you’re a speed-runner it doesn’t quite have the pace of the NES and SNES games). It’s also a great multiplayer game, as you can play in co-op mode with three other players and race through levels — the winner of each level gets to wear a crown in the next.

With the move to the Switch, and Nintendo finally starting to figure out online gaming, you can now do that remotely, which is a huge plus. The bigger addition is Bowser’s Fury, an all-new game of sorts that plays more like a blend of Super Mario Odyssey and 3D World. There are some really creative challenges that feel right out of Odyssey, blended with the lightness and speed of the Wii U game. (It should be noted that Bowser’s Fury is also only good for one or two players, unlike the main game.) We’d recommend 3D World just on its own, but as a package with Bowser’s Fury, it becomes a much better deal.

Super Mario Odyssey

Super Mario Odyssey might not represent the major change that Breath of the Wild was for the Zelda series, but it’s a great Mario game that’s been refined across the last two decades. Yes, we got some important modern improvements, like maps and fast travel, and the power-stealing Cappy is a truly fun addition to Mario’s usual tricks. But that core joy of Mario, figuring out the puzzles, racing to collect items and exploring landmarks, is here in abundance.

Super Smash Bros. Ultimate

This is the ultimate distillation of Nintendo’s multiplayer fighting game. The series’ debut on Switch brings even more characters from beyond Nintendo’s stable. If you’re sick of Mario, Pikachu and Metroid’s Samus, perhaps Final Fantasy VII‘s Cloud, Solid Snake or Bayonetta will be your new go-to character. There are about 80 characters to test out here (although 10 of them are locked behind DLC).

Super Smash Bros. Ultimate features a divisive new single-player mode where you augment characters with stickers, battling through special conditions to unlock more characters and, yes, more stickers. At its core, Smash Bros. games combine fast-paced, chaotic fights with an incredibly beginner-friendly learning curve. Yes, some items are confusing or overpowered, but your special moves are only a two-button combination away. Turning the tables is built into the DNA of Super Smash Bros. Ultimate, ensuring thrilling battles (once you’ve sorted handicaps) for everyone involved.

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45th EDITION OF THE FESTIVAL DES 3 CONTINENTS

INTERNATIONAL COMPETITION · DISTRIBUTION SUPPORT AWARD

A new prize to support film distribution sponsored by SIX ARES – AVENTIM Group, an active promoter from Nantes

 

For the first time, the professional jury of the Festival des 3 Continents will award the Distribution Support Award, donated by SIX ARES – AVENTIM Group, to one of the feature films in its prestigious international competition. 

 

The 45th edition of the festival, dedicated to the cinema of Africa, Asia and Latin America, will be held from 24 November to 3 December 2023 in Nantes, France.

 

The Distribution Support Award aims to support the distribution of the winning film in French cinemas. By associating itself with the Festival des 3 Continents, the property developer SIX ARES – AVENTIM Group, a new partner of the festival, wishes to contribute to the discovery and visibility of original and contemporary works on the big screen.

 

The French distributor of the winning film will receive an endowment of 3,000 euros, offered by SIX ARES, AVENTIM Group.

 

“The Distribution Support Award is something we’ve been thinking about for a long time, and SIX ARES is making it possible this year,” explains Jérôme Baron, artistic director of the festival. “Often the films in competition that we show in Nantes don’t have a distributor in France, or their distributors need support in their bold choices. The Distribution Support Award is a direct help for the distributor. It enables the distributor to position itself and the film to be released in French cinemas.” 

 

“As a major player in the Nantes area, we are delighted to be able to support emerging films by sponsoring the Festival des 3 Continents. It’s also a nod to our “Synopsys” operation, as we’re setting up an art-house cinema on the Cour des 50 Otages (Nantes). Art has always been part of our sensibility“, explains Arnaud Michel-Courty, Managing Director of the Bretagne – Loire Atlantique Region of the AVENTIM Group and founder of SIX ARES.

 

Each year, a selection of around ten films, presented as French premieres, is submitted to a professional jury. The Distribution Support Award will be granted alongside the Montgolfière d’Or and the Montgolfière d’Argent, as well as the Audience Award and the Young Jury Award.

 

The main lines of the programming of the Festival des 3 Continents will be announced shortly, and the Official Selection, including the International Competition, will be revealed at a press conference on 9 November 2023.

 

INTERNATIONAL COMPETITION AWARDS

 

MONTGOLFIÈRE D’OR

Awarded to the director of the winning film. The highest prize of the Festival des 3 Continents. 

€6,000 endowed by the Festival and the City of Nantes.

 

MONTGOLFIÈRE D’ARGENT 

Awarded to the director of the winning film. 

€4,000 endowed by the Festival and the Loire-Atlantique Departmental Council.

 

DISTRIBUTION SUPPORT AWARD

Awarded to the French distributor of the winning film. 

€3,000 endowed by the festival and SIX ARES, AVENTIM Group. 

 

YOUNG JURY AWARD

Awarded to the director of the winning film.

This prize is awarded by a jury of five young people from Nantes and the surrounding area, aged between 17 and 23.

€3,000 endowed by the festival and Le Damier, a Brémond Group foundation. 

 

AUDIENCE AWARD

Awarded to the director of the winning film.

Festival audiences are invited to vote after each screening.

€3,000 awarded by the festival and the Magmaa Food Hall Nantes to the director of the winning film.

 

– – – – – – –

  

Every year, at the end of November since 1979, the Festival des 3 Continents has been offering a different view on the cinema and the world, through a unique selection of films, both fiction and documentary, from Africa, Latin America and Asia. The 3 Continents is a non-profit association, committed to accessibility for the handicapped, sustainable development and support for equality and diversity in the cinema industry (50/50 Charter). www.3continents.com

 

As a developer, planner and operator, the AVENTIM Group imagines, designs and operates living spaces that develop, rationalise and embellish territories. Vibrant places to live and work. It reflects our obsession with the long term in all the visible and hidden aspects of its actions, in particular by adapting its working methods and the choice of its partners for each of its projects.  Willing to act for sustainable well-being, AVENTIM carries out projects with low environmental impact to adapt the city to the challenges of tomorrow. To achieve this, it is committed to a firm ecological transition that fights for the living and promises to include all members of the public. AVENTIM, of sustainable interest.

 

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  45th EDITION OF THE FESTIVAL DES

Hunger Games The Ballad Of Song Birds And Snakes Trailer

2023 is *the year* for 20-something teenage girls — it’s just a fact at this point. And of course, this trend won’t be stopping anytime soon now that The Hunger Games: The Ballad of Songbirds & Snakes just released its new trailer.

In case you didn’t know, The Ballad of Songbirds & Snakes is a prequel set 64 years before the events of The Hunger Games. The book (and movie, obvi) follows a young Coriolanus “Coryo” Snow (Tom Blyth), who has been selected to be a mentor in the 10th Hunger Games and is assigned to the tribute from District 12, Lucy Gray Baird (Rachel Zegler).

Over the course of the book, Coryo and Lucy’s relationship develops into much more than just a mentor-mentee dynamic, as he does everything in his power to help her win. Meanwhile, we also get such an in-depth view of the dark history of the Hunger Games and how sweet Coryo eventually becomes the infamous President Snow.

So, now let’s take a little look-see at the trailer. We open with a slightly scary-looking Dr. Volumnia Gaul (Viola Davis) asking Coryo what he thinks the Hunger Games are for. And then, Rachel Zegler’s absolutely haunting version of “The Hanging Tree” begins to play.

We catch glimpses of the Districts as the reaping commences and gives us 24 new tributes.

And then Casca Highbottom (Peter Dinklage) explains the gruesome truth about why the mentors are so important for this year’s Games.

We see Lucretius “Lucky” Flickerman (Jason Schwartzman) hosting his Hunger Games pre-show, while Coryo’s cousin Tigris (Hunter Schafer) questions the ethics of the Games.

And some things, like Coryo’s affinity for white roses, never change.

Then, in a sincere moment, we see just how determined Coryo is to make sure Lucy comes out of the Hunger Games alive…

…and how that doesn’t pan out well for him with The Capitol.

Of course, the trailer wouldn’t be complete without a super intense montage of the Games.

The trailer finishes in the most perfect way with future-President Snow’s (Donald Sutherland) eerie voiceover.

And be sure to check out The Hunger Games: The Ballad of Songbirds & Snakes when it hits theaters Nov. 17!

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Hunger Games The Ballad Of Song Birds

Singer Sufjan Stevens detailed his diagnosis of Guillian-Barré Syndrome Wednesday in a post on his website.

The musician, who has a new album called “Javelin” on the way, wrote that he hadn’t been able to participate in press and promotion for the record because he was hospitalized with the autoimmune disease and was doing “intensive physical therapy.”

“Last month I woke up one morning and couldn’t walk. My hands, arms and legs were numb and tingling and I had no strength, no feeling, no mobility,” Stevens wrote. “My brother drove me to the ER and after a series of tests — MRIs, EMGs, cat scans, X-rays, spinal taps (!), echo-cardiograms, etc. — the neurologists diagnosed me.”

Stevens recounted that luckily, there is treatment for Guillian-Barré.

“They administer immuno-hemoglobin infusions for five days and pray that the disease doesn’t spread to the lungs, heart and brain,” he wrote. “Very scary, but it worked. I spent about two weeks in Med/Surg, stuck in a bed, while my doctors did all the things to keep me alive and stabilize my condition. I owe them my life.”

Transferred to rehab Sept. 8, Stevens discussed the challenges of the intensive physical therapy he has been undertaking to recover. As of his post, he remains in a wheelchair learning to walk again.

“It’s a slow process, but they say I will ‘recover,’ it just takes a lot of time, patience, and hard work,” he added. “Most people who have GBS learn to walk again on their own within a year, so I am hopeful. I’m only in my second week of rehab but it is going really well and I am working really hard to get back on my feet.”

“I’m committed to getting better, I’m in good spirits, and I’m surrounded by a really great team. I want to be well!” he continued. “I’ll keep you posted as I progress. Thank you for your thoughts and prayers. And a huge shout out to all the incredible caretakers of the world working night and day to help us heal. They are living saints.”

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September 20, 2023 @ 10:46 AM Singer Sufjan

Netflix subscription is required to watch on Netflix

 

Great news! “Hard Broken” is available to watch on Netflix USA!

 

Date Added: 20th September 2023

Want to keep forever? Try looking for ‘Hard Broken’ on Amazon (paid link)

 

Description:

A tragic murder sends a friend group into a frenzy, revealing hidden romances and betrayals lurking beneath the surface of their seemingly perfect lives.

 

Certificate: TV-MA
For Mature Audiences.

 

Year: 2023

Duration: 6 Episodes

Available Seasons: Season 1 (6 Ep)

Audio: Arabic (Lebanon) [Original], Arabic – Audio Description

Subtitles: Arabic (Lebanon), English

Episode Length: 46min

 

Cast and Crew

Director: Elie F. Habib

 

Cast: Muhannad Alhamdi, Rasha Bilal, Talal Jurdi, Douja Hijazi, Elie Mitri, Rodrigue Sleiman, Sara Atallah, Ghenwa Mahmoud, Mohamed Akil, Ruwayda Ali

 

Average Rating Not yet rated

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Available on Netflix USA!

Netflix subscription is required to watch on Netflix

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With generative AI, all traditional production workflows will be disrupted, asserted Marco Tempest, a Directors Fellow at the MIT Media Lab, of this transformative tech and how it could be used well beyond engineering circles. “I think it’s the first time ever that we’ve been confronted with a technological wave that doesn’t require technologists to take advantage of.”

He made these remarks during a virtual keynote at the annual International Broadcasting Convention, which concluded on Monday in Amsterdam. AI, to no surprise, was the biggest topic at the event while messaging about its potential was often optimistic, but at times dicey.

Familiar Hollywood tech developers such as Avid, Adobe and Blackmagic Design came to the conference and exhibition to highlight development of AI-driven tools for creatives, but also to allay worries that it will take away jobs. In the words of Avid president and CEO Jeff Rosica the goal is “fostering creativity through the power of AI.

“AI can learn behaviors. If it consumes something; it can ultimately be taught to help,” he said, addressing what it could mean, for instance, for Avid’s core base of editors. “It will help automate processes and get rid of mundane tasks. So the editor can spend more time on creative decisions.”

Also at IBC, there were whispers about AI in the context of the ongoing WGA and SAG-AFTRA strikes. Hollywood studio representatives generally steered clear of commenting on the topic during panels, including one hosted by MovieLabs, a non-profit research & development joint venture founded by the major Hollywood studios. As the execs discussed the MovieLabs “2030 Vision” for Hollywood, they instead emphasized a call for interoperability among the different technologies used by filmmakers. MovieLabs CEO Rich Berger related that if all of the tools talk to one another, filmmakers can be “more efficient and give more time back to the creative process. … Ultimately creative teams should have a choice so they are not locked in [to a given tool or workflow].”

During the event, plenty of eyes were on Avid, not only because it is the maker of widely-used tools such as the Media Composer editing system but because last month it announced a deal to be acquired by a private equity firm STG affiliate for a whopping $1.4 billion.

At IBC, Avid introduced Ada, the company’s overall brand for its AI-driven technology. Avid already offers ScriptSync AI and Media Composer PhraseFind AI, both of which employ Avid’s AI speech-to-text tech.

Avid also developed an AI-driven search recommendation engine for its Media Central platform. “The engine will look at the written word and start recommendations for content (including video, audio or words),” Rosica explained, suggesting that this might be useful for editors, script supervisors or others, primarily for areas such as documentary, reality programming or news. The company continues to work on AI-driven tools for production and post, some of which are patented and some patent pending.

“We see AI as a co-pilot, to help a creative person do the work they are doing,” Rosica told The Hollywood Reporter of the big picture strategy, adding that in time “it could learn the way an editor visually structures a story.”

The Avid exec suggested that at that point “it could do a rough cut [for sports highlights]; it could suggest edits—where it’s formulaic. Learning a pattern and applying it to something new.” He clarified that he believes this would not be used to cut, for instance, a narrative feature. “It not going to edit it for you, it will save time.”

Meanwhile, developer Blackmagic already includes a neural engine in its Resolve color grading and postproduction software, enabling AI-driven features for editors, assistants and others, such as audio to text and face analysis. New in version 18.6, which was released at IBC, is a VFX tool in its Fusion software, for exuding 3D shapes from 2D images.

Similar to the approach of Avid, Blackmagic’s director of North American sales operations Bob Caniglia said of his company’s approach to this tech, “We have been using AI in Resolve for a few years now and intend to add additional tools in the future.  We’re using it to help with tasks, but not subvert the artistic abilities of the artists.”

Adobe also continues to advance its AI-driven capabilities and at IBC it highlighted its Firefly generative AI tool that’s now available in Photoshop and Illustrator. Speaking on a panel, Adobe’s pro editorial marketing manager Kylee Pena urged the industry to “make ethics part of the conversation.”

Adobe is among the companies in a Coalition for Content Provenance and Authenticity that aims to develop standards for tech that would identify what was altered by AI, as well as create a way to mark potential source material with “do not train” credentials.

At IBC, these discussions also came from young companies such as startup Strada, which recently raised $1.9 million in pre-seed funding to build an AI-enabled cloud platform with tools for production and postproduction. Talking with THR, CEO Michael Cioni suggested that knowing the source of AI content could allow for a paid licensing model and other protections. “We are going to be asking the companies that make these [AI] models to disclose where they trained,” he told THR, meaning “you can search by ethically sourced or non … so that will filter out tools or models that don’t have the right copyright protection.”

Avid’s Rosica believes guard rails are needed in various areas. “As a creative industry we have to protect the role of creative people,” Rosica said. “AI is not a replacement for creativity. AI must be brought to bear to help creativity.“

Cioni said, “we need guard rails at some level, but I don’t think we need guard rails at all levels,” adding that “disposable” Tik Tok content may not need the same rules as Hollywood in terms of, for instance, how AI content is sourced.

But Cioni is ultimately a tech optimist, seeing potential upsides for actors who have worries about AI. “If an actor chooses to license themself to a movie, they can actually make their schedules more flexible,” he suggested. “They can do scenes that they have to be in person and they can do scenes where they don’t.”

Concluded Cioni: “I think it’s totally achievable that AI can live completely in harmony with content creators, and visionaries and storytellers because I don’t think AI is here to actually tell the stories for us … telling a story like Eternal Sunshine of the Spotless Mind–AI isn’t going to do that.”

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What’s wrong with being confident? Demi Lovato readily admits that she’s not always comfortable in her own skin, but there’s one place the GRAMMY-nominated singer feels secure: the bedroom. 

“I’m going to be a little risqué and say I feel the most confident when I’m having sex,” Lovato shared on the second part of her LadyGang podcast interview. “Because you’re so present. You’re not thinking about what clouds your judgement throughout the rest of the day. Or at least, that’s how it is for me. That’s not how it is for everybody.”

Lovato is currently in a relationship with boyfriend Jute$, who she met while writing songs her 2022 album, HOLY FVCK. 

Alex Goodlett/Getty Images for Operation Smile

“We’re growing together, and it feels so healthy,” Lovato raved of her “amazing” relationship with the Canadian musician during a recent interview on The Howard Stern Show.

“We started off as friends, so we built that foundation of friendship first,” she shared. “I think if you can find someone who makes you feel safe … who you’re so attracted to, who you laugh with constantly, that’s the formula of a really great relationship.”

Lovato, who has long been public about her insecurities and struggles with body image, also opened up on LadyGang about the challenges of touring. 

“I’m so human, and I’ve been very open with my struggles having dealt with an eating disorder in the past. Being on stage when you’re having a bad body image day is the worst feeling,” the 31-year-old performer admitted. “There’s nothing you can do. You have to go out there, which is another reason why touring is so hard. You’re not going to always feel great in your skin, but you have to be in front of people with tons of cameras. That’s been challenging in the past.” 

One way she overcomes the issue is by listening to herself, literally. 

“I sometimes have to tell myself, ‘If you can just believe the lyrics you’re singing, even as hard as it may be, just fake it till you make it,’ sometimes that helps,” the Disney Channel alum shared. 

Lovato’s new album, Revamped, is available now. 

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What's wrong with being confident? Demi Lovato

Lincoln The Musical is a raucous comedy send-up of the entertainment industry, focused specifically on the creation of a Broadway musical. In a world where Hamilton is a mega-hit, Broadway producers decide to cash in on the trend and produce a rap musical about Abraham Lincoln starring an unknown female lead in the titular role. The director, Michael Ocean (Artie Brennan), is an egocentric film director whose claim to fame is a comic superhero film called Cockroach Man. The musical direction comes from a SoundCloud rapper who has modeled himself on Post Malone, known as Lil Post Maloney (also Artie Brennan). Breaking into her first Broadway role, Katie Sarasola (Katie Hutch) stars as Lincoln, with a Black male actor named Tyler McCormick (Forest Vandyke) playing Lincoln’s wife, Mary Todd. The choreographer, Robert Fah-Say (Anthony Giordano), is a flamboyant has-been version of what may have become of Bob Fosse if he’d lived long enough.

The film’s structure is a “making-of” the musical presented in “mockumentary” format, with interviews of the cast and crew, as well as the business team that brings Lincoln The Musical to the stage. Katie and the rest of the cast gamely soldier through what is arguably the most ridiculous and cringeworthy production on Broadway, hoping their moment under the lights will be a huge hit, launching careers for them. On the other side of the business of show, we see the grubby machinations of casting director Emmy Harrington (Ellen Sailor) who is callous and awful, a talent agency run by two old men, Morty (Artie Brennan) and Ezra Bernstein (Anthony Giordano) who seem incredibly out of touch with modern entertainment, and, of course, Lil Post Maloney, who is responsible for the most horrific excuse for a theater musical score imaginable. Critics are not spared here: Anthony Devito delivers a version of critic Michael Musto called Micha Gusto with a breathless lisp. It is clear as the production moves closer to opening day that it will either mirror Hamilton’s success or crash and burn as the worst turkey in town, and there’s no way to predict which will happen. 

 

“…the most ridiculous and cringeworthy production on Broadway…”

Artie Brennan and Anthony Giordano, who also star, produced, written, and directed the film. That is an understatement, as both play three roles. Brennan and Giordano describe their film as “a parody of the entertainment business that we all work in and love…and sometimes hate.” 

Everything in this film is insanely over-the-top. To their credit, the filmmakers manage to lampoon an impressive array of entertaining sacred cows in the film’s relatively brief 64-minute runtime. Going into this film, the viewer would be well-advised not to take any of the portrayals too seriously, as they are so extreme as to be (intentionally) uncomfortable. The characterizations exaggerate stereotypes of Jews in the entertainment business, rappers, starry-eyed actors, narcissistic film directors, avaricious producers, and everyone else involved. This film is the Tropic Thunder of Broadway parody. Do they go too far? It depends on your perspective in much the same way that you can mock your sister, but it enrages you if someone else does. If we’re all one big happy family, then it’s just outrageously funny and done with great affection. 

If Mel Brooks and Christopher Guest decided to do a mash-up of The Producers and This is Spinal Tap, then Lincoln The Musical might be the result. Brennan and Giordano include some beautiful footage of Manhattan, and the overall production is surprisingly polished for a low-budget Indie film. The performances are also skillful as the actors take up the challenge of roasting the various archetypes of the theater business in New York.  

For screening information, visit the Lincoln The Musical official website.

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Lincoln The Musical is a raucous comedy

new video loaded: Biden and Netanyahu Meet on Sidelines of U.N. General Assembly

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Biden and Netanyahu Meet on Sidelines of U.N. General Assembly

The meeting between President Biden and Prime Minister Benjamin Netanyahu of Israel at a New York City hotel, and not the White House, served as a reminder that their relationship remains thorny.

“Today we’re going to discuss some of the hard issues, and that is upholding democratic values that lie at the heart of our partnership, including checks and balances in our systems, and preserving the path to a negotiated two-state solution and ensuring that Iran never, never acquires a nuclear weapon. Because even where we have some differences, my commitment to Israel, as you know, is ironclad. I think without Israel, there’s not a Jew in the world that’s secure. I think Israel is essential.” “I want to reassert here before you, Mr. President, that one thing is certain and one thing will never change, and that is Israel’s commitment to democracy. We will continue to uphold the values that both our proud democracies cherish. And I think that working together we’ll realize the promise, roll back the dangers and bring a better future for our region and the world. We can make history.”

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new video loaded: Biden and Netanyahu Meet

EXCLUSIVE: Everybody mingles at Telluride. I have this abiding memory of Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, at the festival’s opening-day brunch set atop a mountain in the San Juan range of the Rockies, bounding over to Cannes Palme d’Or winner Justine Triet and Sandra Hüller, her sublime lead star in the prize-winning movie Anatomy of a Fall.

Kramer hadn’t seen the movie at that point, but he’d heard about Triet’s brilliant Palme acceptance speech, where she’d lambasted French President Emmanuel Macron over his draconian measures against those protesting new plans for pensions.

 A vigorous conversation ensued on the mountaintop about politics and movies.

From left: Justine Triet, Bill Kramer and Sandra Hüller (Baz Bamigboye/Deadline)

I told Kramer that he’ll more than likely see Triet and Hüller again in March, if not before.

At present, Anatomy of a Fall is one of five titles in the running to be France’s pick for Best International Feature Film race at the 96th Academy Awards.

They also include The Animal Kingdom by Thomas Cailley, Sons of Ramses by Clement Cogitore, The Taste of Things by Tràn Anh Hungh and On the Wondering Paths by Dennis Imbert.

Of course, Triet’s movie surely will garner nominations in other categories.

RELATED: Palme d’Or Whisperer Neon Makes It A Remarkable Four In A Row With ‘Anatomy Of A Fall’

Weeks after the summit meeting at Telluride and a soiree there hosted by Neon, I met with Triet and Hüller on Zoom and pressed the director again about her acceptance speech in Cannes, where she charged that the protests were “repressed in a shocking way” and slammed Macron’s pattern of “dominating power.”

Triet explained that “the important thing for me in making the speech was to speak about how to preserve and protect this space of creativity that is so envied worldwide, where a whole diversity of film is being generated, both large and small productions alike.”

Anatomy of a Fall was born out of Triet’s desire to work with Hüller after they’d worked together four years ago on Sibyl. This time, Triet wanted Hüller as her star.

“I had two projects with her in mind — one that I gave up because it was not good enough,” she confessed.

RELATED: The Jury Gets It (Mostly) Right In A Terrific Lineup Of Competition Films, But What Impact Will 2023 Cannes Film Festival Have On Oscar?

“I was obsessed with Sandra,” Triet told me. “So after I started this one, Sandra was on my mind … but I was afraid of her.

“No, afraid of her judgment,” she clarified, “because I was like, ‘”’OK, maybe she wouldn’t love it.’”

Triet was fearful that Hüller would decline to play the movie’s protagonist, Sandra, an author who stands trial accused of murdering her French husband Samuel (played by Samuel Theis) at their chalet in the French Alps.

Hüller, on the left of my screen, smiled broadly and revealed that when she received Triet’s screenplay, she read it “50, 60, maybe 70 times. To me, it was ready. It was perfect.”

RELATED: Cannes Jury Head Ruben Östlund On ‘Anatomy Of A Fall’ & The Awards Process: “The Palme d’Or Winner Was An Intense Experience — It’s What Cinema Should Be”

Sandra and Samuel were a central concern for Triet, but just as important was the relationship between Sandra and Daniel, the couple’s sight-impaired son played by Milo Machado Graner.

Triet said that she wanted to explore what happens “when trust is lost between” a mother and her child and then to dramatize what occurs when “this child decides to become this sort of central judge and witness” of his mother. “And going with this consideration that we never really know our parents,” she added.

Jane Fonda applauds Justine Triet at Cannes (Getty Images)

The filmmaker was “very curious” about the courtroom movie genre. ”I think there are so many traps when you do a movie like this.”

Hüller nodded in agreement. ”There are some rules and some unspoken rules, those things that we’ve always done the way that they are done now. And some of us are really bored by that,” she noted.

The very things that made Sandra a successful novelist — her way with languages and narrative and her confidence — are the very things that go against her in a courtroom.

“The way in which she stands in this courtroom, she could be this menace who could be in the business of duping us,” said Triet.

Hüller agreed. People look at her in court and think ”it can’t be that good and it can’t be that easy. And she can’t also be in grief when she’s like that. People have to be one thing or the other. And they can’t be everything. But people are everything. People have all the feelings, and they have contradictory feelings — things that don’t fit together. And the only thing she does, opening up in front of everybody … she just doesn’t hide anything.”

Except for one little detail, Hüller added with a wink.

The actress said “that kind of impulse that happens instantly to judge people that we can’t really read or who just stand up for themselves. When I think about myself in such a situation, I would excuse myself and I would apologize for everything that I do, and she just doesn’t. … And that makes her an unusual woman.”

Hüller said that when she stands back and looks very clearly at the Sandra character in the movie, “You are drawn to her, drawn away from her. In some moments, you wish to be like her.”

She said that she has sensed women judging Sandra in the film “especially about the behavior towards her son, which is also something strange to me because, how dare you? That’s really something that we shouldn’t do, especially as women. We shouldn’t judge each other other’s behavior towards children.”

And Hüller found it “really rare” to be “one person in cinema and in life who’s a real adult person who takes responsibility for all their actions,” said the thespian who gives a more chilling adult performance in Jonathan Glazer’s The Zone of Interest, which won the Grand Prix at Cannes.

But Triet insisted that it’s not easy to create grown-up movies. “Because we have to live with our ghosts, you know? We have to live with our creation, so it’s not easy sometimes.”

RELATED: Toronto Film Festival 2023: All Of Deadline’s Movie Reviews

Her comment about a “real adult person” made me cheer because there are very few films around this season that explore adults involved in adult situations. Half the movies I saw at TIFF were ridiculously infantile, but layer by gripping layer, Anatomy of a Fall has us falling for it.

The pic will be screening at the New York Film Festival next month.

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EXCLUSIVE: Everybody mingles at Telluride. I have this

John Wick’s name might be the one in all the titles, and his face the one on all the posters. But as any John Wick fan could tell you, the appeal of John Wick has never been solely about its leading man. Just as essential to its enduring popularity has been the universe it’s built over four features: one populated by elite assassins and guided by arcane rules, cast in perpetually moody lighting just beneath the surface of our mundane reality.

Whether that setting in itself is enough to mint new (anti)heroes and sustain new leads is the meta question at the heart of Peacock’s The Continental: From the World of John Wick, a John Wick-less sequel set decades before Keanu Reeves ever snarled “I’m thinking I’m back.” And though it seems more a test of concept than a complete saga, it’s a tentatively successful one — though with one major misstep that’ll be enough to ruin the whole experiment for many.  

The Continental: From the World of John Wick

The Bottom Line

Decent, but for that unbearable casting choice.

Airdate: Friday, Sept. 22 (Peacock)
Cast: Mel Gibson, Colin Woodell, Mishel Prada, Ben Robson, Hubert Point-Du Jour, Nhung Kate, Jessica Allain, Ayomide Adegun, Jeremy Bobb
Developed by: Greg Coolidge, Kirk Ward, Shawn Simmons

As spinoffs go, The Continental, developed by Greg Coolidge, Kirk Ward and Shawn Simmons, aims for an approachable balance. It’s an expansion of already established lore around the titular hotel — but finds enough breathing room in its 1970s setting to deliver a story that requires no prior buy-in. It centers on Winston Scott, the suave hotelier played by Ian McShane on the big screen — but grants Colin Woodell, playing a younger version, enough substantive material to make the silver-tongued, gold-hearted character his own. (Woodell does do a nice job of capturing McShane’s mannerisms and gravel voice, for what it’s worth.) It situates him among a roster of mostly brand-new characters worth enjoying in their own right, regardless of whatever ties they might or might not have to the ones we already know.

Like John Wick’s, Winston’s bloody quest is steeped in a dark past he thought he’d left behind; he’s a London con man sucked back into the New York crime scene because of a deadly dispute between his big brother, Frankie (Ben Robson), and the gangster who practically raised them, Cormac (Mel Gibson, about whom more later). Naturally, the only path forward for Winston is to punch and slice and shoot his way through the underworld that Cormac rules over, on the way to capturing the assassins-only hotel that serves as the seat of his power. While The Continental‘s action isn’t at the level of the movies’, it’s still above average for TV, with intricate choreography, athletic stunt work and camerawork fluid enough to show off both. The blood sprays and great big chunks of squishy red flesh that tend to follow are just the icing on this gleefully violent cake.

Likewise, though New York might look a lot smaller this time around — the omnipresent smog can only do so much to hide the fact that entire neighborhoods in The Continental look no bigger than a studio backlot — it’s one awash with style. Outside is a grimy city lined with trash and dotted with condemned structures, some of which contain their own tantalizing secrets. Inside the Continental is old-fashioned opulence juxtaposed with flamboyant weirdness, like an Adjudicator (Katie McGrath) who conceals the lower half of her face with a crazed porcelain mask, or a pair of sadistic twins (Marina Mazepa and Mark Musashi) in matching haircuts that fall somewhere between “Lord Farquaad in Shrek” and “Claire in the second season of Fleabag.” It’s all very silly, and only becomes more fun to watch the less any of it resembles real-world sense.

But there are a few caveats to The Continental‘s wins. The more bearable one is its format. The series spans three heavily serialized episodes of roughly 90 minutes each, which positions it in a frustrating middle ground between a too-long movie and a too-short TV season. It takes the entire feature-length premiere to get to the core premise of Winston trying to topple Cormac’s rule, and most of the feature-length finale to play out the bullet-riddled climax. In between, there’s not quite enough time to flesh out the promising ensemble with the care they deserve.

The chemistry is there. I enjoyed the hint of flirtation between Winston and one of his new allies, karate gym proprietress Lou (Jessica Allain), and the nascent friendship between Winston and Charon (Ayomide Adegun, playing a younger, more wide-eyed version of Lance Reddick’s concierge from the films). The bits we get of the characters’ backstories are intriguing, too. The series probably could have filled several hours just unpacking the complicated family dynamics among Lou, her brother Miles (Hubert Point-Du Jour) and their later father, or the star-crossed romance between Vietnam vet Frankie and his ex-Khmer Rouge wife Yen (a kick-ass Nhang Kate). That it doesn’t may be an attempt to keep audiences hungry enough to clamor for more episodes. But The Continental is billed as a “three-part event,” rather than a first season, which gives the impression of a network being afraid to commit.

Perhaps that has a little something to do with The Continental‘s other, much bigger red flag, which comes in the form of its top-billed star. In a vacuum, Gibson might be a perfectly reasonable choice of household name to play the scenery-chewing villain whose intensity outpaces his actual screen time. But The Continental does not exist in a vacuum. It’s being released into a reality where Gibson’s history of racist, misogynistic, anti-Semitic, abusive behavior has been well documented. In that reality, the sight of Gibson hurling cruel insults or unleashing his violent temper is hardly the stuff of escapist action fantasy. His presence lends a sour note that many viewers will find outright intolerable — which defeats the purpose of casting such a recognizable face to begin with. The Continental is otherwise a decent start to John Wick‘s expansion plans. One only hopes future installments will be a bit more selective about whom they let in through those storied doors.

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John Wick’s name might be the one

Sherri Shepherd announced Wednesday that she has tested positive for COVID-19 and will halt new episodes of “Sherri” Season 2 as a result. The series just returned to production on Monday.

“I am absolutely heartbroken that I cannot return to host my show this week,” Shepherd said in an Instagram post Wednesday, shared to the series’ account. “As soon as I get the all-clear from my doctor, I look forward to coming back strong to deliver the fun, laughter and a real good time.”

Elsewhere in the announcement, representatives for “Sherri” added that “the health of our host and entire staff is of the utmost importance.”

“The show will return with original episodes as soon as possible,” the post read. “For the remainder of this week, encore episodes from the beginning of the premiere week will air.”

Shepherd’s diagnosis came as “Sherri” premiered its second season amid the ongoing WGA and SAG-AFTRA strikes. Her return was under particular scrutiny as other talk shows like “The Drew Barrymore Show,” “The Jennifer Hudson Show,” and “The Talk” reversed course on their proposed returns to production, the distinction being that “Sherri” is not a WGA contracted series.

Shepherd defended her series’s Season 2 return on Monday, emphasizing, “We have never employed WGA writers, so us coming back to work is not crossing the picket line.”

The talk show host explained that as a comedian, she has always been the sole writer of “Sherri,” paired with assists from producers “who help me shape my words, which is why we don’t have WGA writers here.”

Shepherd also explained that while she has marched in support of both strikes and is herself a member of SAG-AFTRA, talk shows “fall under a different union contract code, so we’re allowed to come back — unless you’re a WGA show.”

The host did, however, lend her support to the striking laborers — and has previously been seen on the picket lines with stars like Niecy Nash-Betts and Viola Davis.

“My heart is breaking for all of the people that cannot work right now,” she said Monday, “and I hope our industry can get this strike resolved soon.”

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September 20, 2023 @ 10:03 AM Sherri Shepherd

About The Author

Andrew Jeffrey joined Realscreen in 2021 as its news editor. Here, he helps to oversee assignment, reporting and editing for Realscreen’s daily newsletter. Prior to his work covering documentary and non-fiction film and TV, he worked as a reporter and associate producer for CBC Edmonton, and as a reporter for The Star Calgary, where he covered daily news on beats such as local and provincial politics, health care and harm reduction, sports and education. His work has appeared in other Canadian news outlets such as TVO, the Edmonton Journal and Avenue Magazine.

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On the other hand, Jack Benny sent Mr. Klane a fan letter telling him that it was the funniest book he had ever read.

Two years later, Mr. Klane published “Where’s Poppa?,” and that same year Carl Reiner directed the film version, with a script by Mr. Klane. Vincent Canby of The New York Times wrote that the film did not have “much more on its mind than a desperate desire to provoke shock and laughter” — which, he said, it did successfully.

Jon Klane recalled going to a theater to see the film with his father, who stayed in the lobby. “I came out to get candy, and he was watching a matronly woman demand a refund,” he said by phone. “I went up to him and he said, ‘This is exactly the kind of person I want to offend.’”

Over the next three decades, Mr. Klane stayed relatively busy in television and film. He wrote six episodes of the sitcom “M*A*S*H”; the 1985 film “National Lampoon’s European Vacation,” with John Hughes; “The Man With One Red Shoe,” a 1985 remake of the French comedy “The Tall Blond Man with One Black Shoe,” which starred Tom Hanks; and 11 episodes of Tracey Ullman’s sketch comedy series “Tracey Takes On …” in 1997, for which he and several others received an Emmy Award for outstanding variety, music or comedy series.

His directing work included “Thank God It’s Friday” (1978), set entirely in a disco, which won the Academy Award for best original song, “Last Dance,” sung by the disco diva Donna Summer, one of its stars; and “The Odd Couple: Together Again,” a 1993 TV movie that reunited Jack Klugman and Tony Randall, the stars of that 1970s sitcom.

In addition to his son Jon, Mr. Klane is survived by his wife, J.C. Scott; a daughter, Caitlin Klane; another son, David; a brother, Larry; and five grandchildren. Another daughter, Tracy Klane, died in 2011. His marriages to Linda Tesh and the actress Anjanette Comer ended in divorce.

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On the other hand, Jack Benny sent

I’ll give “The Continental” this: of all the reasons the “John Wick” prequel frustrates, underwhelms and disappoints, the involvement of Mel Gibson barely manages to rank. That, at least, is a major accomplishment.

The three-part series, subtitled “From the World of John Wick,” was anticipated by a steady stream of red flags: a gap of more than half a decade between the official greenlight and Wednesday’s premiere; the move from Starz, a network owned by franchise studio Lionsgate, to Peacock; the news that Chad Stahelski, the stunt performer turned action auteur, would not direct any episodes, though he retains an executive producer credit. (Let’s also throw in the casting of Gibson, whose rehabilitation after a history of racism, antisemitism and alleged domestic violence has been as dispiriting as it is inevitable.) In its final form, “The Continental” bears these misgivings out. The show lacks the star power and visual panache of “John Wick,” and what it adds is directly at odds with the movies’ source of appeal.

Developed by Greg Coolidge, Kirk Ward and Shawn Simmons, “The Continental” stars Colin Woodell as a younger version of Winston Scott (Ian McShane), the proprietor of the titular boarding house’s New York branch. Asking an actor to channel presence and gravitas like McShane’s is essentially a suicide mission, and “The Continental” only makes matters worse by framing Winston as a faint echo of Keanu Reeves’ avenging ex-assassin, transplanted to 1970s New York and weighed down with unnecessary backstory. 

The beauty of “John Wick” is its blend of baroque excess with elegant simplicity. The first movie had a bare-bones plot, a skeleton scaffolding on which to hang set piece after set piece. John Wick’s dog, a gift from his deceased wife, is killed; those responsible must suffer. Only in subsequent installments was this Hammurabic fable built into an elaborate mythology. A global, underground network of contract killers is governed by a sacred code and a shadowy group known only as the High Table. The Continental, with its many locations, is where they can conduct their business in safety — provided they can pay their way with a special coin. But as the world around him expands, John Wick remains an almost comically single-minded figure, fighting and grunting his way to a hard-won demise at the end of “Chapter 4.”

“The Continental” spoils this delicate balance. Winston’s primary motivation is the death of his brother Frankie (Ben Robson), which sets him on a collision course with the Continental’s sadistic manager Cormac (Gibson). But this premise isn’t in place until the closing scenes of the 86-minute pilot, which means it takes “The Continental” nearly the length of the entire first “John Wick” movie even to set its story in motion. In all that time, neither Frankie nor Winston stand out as compelling leads; we’re simply instructed to care about them via black-and-white flashbacks to their impoverished Bronx childhoods that open each episode.

The season stretches the three-act structure of a movie into three episodes, each themselves the length of a feature film. First, Winston sets his sights on Cormac; Woodell’s growling delivery of the line “Guns. I need lots of guns” is a clear, if futile, attempt to channel Reeves. Then, he assembles a crew, including Frankie’s ex-partner Yen (Nhung Kate) and arm-dealing siblings Lou (Jessica Allain) and Miles (Hubert Point-Du Jour). Finally, the three mount an assault on The Continental itself, punching and slashing their way through the halls. The conclusion is foregone, yet “The Continental” shuffles toward it without the style or verve that can make the journey worthwhile. A neon-lit party scene is a pale imitation of, say, the Rome rager from “Chapter 2,” and the all-important fight scenes are largely forgettable. Besides Cormac, the main antagonists are a pair of killer twins who go by Hansel (Mark Musashi) and Gretel (Marina Mazepa), another faint echo of a prior Reeves masterwork. The color palette is often exactly the drab, desaturated mess the movies offer a refreshing break from. 

Despite the name, “The Continental” offers little new information as to the hotel’s origins or operations, which might be of interest to devoted “John Wick” fans. Instead, the show heaps on emotional context that runs counter to the films’ artful minimalism. After his death, Frankie gets retroactive exposition about his time in the Vietnam War; a police detective named KD (Mishel Prada) takes an interest in Winston, spoiling the series’ magical absence of normal law enforcement in favor of assassins’ secretive self-government. Only Charon (Ayomide Adegun), the future concierge first played by the late Lance Reddick, comes off as a recognizable character we still see a new side of, here a loyal protegé to Cormac. And Gibson, however distasteful as a public figure, is at least effectively menacing.

There are flashes of Wickian irreverence here and there, though setting a violent beatdown to an upbeat pop song loses its charm the umpteenth time around. But “The Continental” still comes off like a grave misunderstanding of what enthusiasts might want from a “John Wick” without John Wick. Next year, the movie “Ballerina” will make a second attempt at extension, this time with Ana de Armas. As a first try, “The Continental” offers much to improve on.

The first episode of “The Continental” will premiere on Peacock on Friday, Sept. 22, with remaining episodes streaming weekly on Fridays.

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I’ll give “The Continental” this: of all

Summary

  • Gal Gadot didn’t know who would be replacing Henry Cavill as Superman, but she wishes the new actor the best of luck in the role.
  • Gadot is confident that Wonder Woman will return in James Gunn’s DCU, as she has had conversations with the directors about it.
  • Jason Momoa’s Aquaman will also be returning in the DCU, as he has signed on for four more years of involvement in Detective Comics adaptations.


Gal Gadot didn’t realize who Henry Cavill’s replacement was. Fan of the DC Comics have known for a while that James Gunn and Peter Safran are shifting away from the old DCEU and forging a new Detective Comics Universe (DCU). It officially kicks off with Superman: Legacy in 2025, but the actor who has brought Wonder Woman to life on the big screen since Batman v Superman: Dawn of Justice (2016) didn’t realize David Corenswet was the new actor hired to portray Superman.

Gadot said in an exclusive interview with ComicBook.com:

“I saw that they were testing, doing different screen tests, but I don’t know who got it, but it seemed like everyone was super legit and talented and, like, great. So, I’m happy for them. It’s such a huge take-on, and it’s such an exciting beginning to any actor, and I wish whoever it’s going to be the best of luck and enjoy the ride.”

In addition to Corenswet being hired to take up the mantle of Superman, which was carried by Henry Cavill since 2013’s Man of Steel, a number of pivotal roles have been filled in Superman: Legacy. Lois Lane will be portrayed by The Marvelous Mrs. Maisel herself, Rachel Brosnahan. Nathan Fillion will portray one of Earth’s Green Lanterns, the curmudgeonly Guy Gardner, while Isabela Merced will take flight as Hawkgirl.

Related: David Corenswet’s 10 Biggest Films and Shows Prior to Superman: Legacy


Gadot Feels Confident Her Wonder Woman Will Return

DC Comics

Superman: Legacy will officially kick off James Gunn and Peter Safran’s upcoming DCU. In addition to the aforementioned characters, the new cinematic adventure of the Last Son of Krypton will also feature the super-powered Mister Terrific (Edi Gathegi) and Metamorpho (Anthony Carrigan). And while Wonder Woman hasn’t been announced as a player in the 2025 film, Gal Gadot fully expects to appear in James Gunn’s DCU.

Gadot is convinced, after having conversations with Gunn and Safran, that her Diana Prince will return in Wonder Woman 3. After all, the Amazonian does keep popping up in films like Shazam! Fury of the Gods and The Flash, courtesy of rather insignificant cameo appearances. Perhaps, Gadot’s inclusion in those movies is to keep her character relevant until the DCU begins.

And, while The Flash may have been intended to reboot DC’s live-action franchises, it appears there will be more holdovers that find their respective ways into the DCU. With Aquaman the Lost Kingdom, the return of Jason Momoa’s Arthur Curry is assured. Not only does Momoa’s character survive Barry Allen’s (Ezra Miller) time-traveling antics in The Flash, but Momoa’s meeting with Gunn led to the actor signing on for four more years as a contributor in the world of Detective Comics’ adaptations.

Whether Momoa portrays Aquaman or Lobo after The Lost Kingdom remains to be seen. But if Gadot’s Wonder Woman is returning, wouldn’t Momoa remain Arthur Curry in the DCU? At the time of this writing, it appears that Miller, Gadot and Momoa all have legitimate chances of playing their already established Justice League characters in the DCU. Henry Cavill is definitely out as Superman. Ben Affleck was replaced by George Clooney’s Bruce Wayne/Batman in The Flash, and given the animosity between Ray Fisher and James Gunn, Cyborg has apparently been left behind to rust.

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Electronic Arts has revealed and released EA Sports FC 24‘s official soundtrack.

Available now on streaming platforms including Spotify, it includes 80 tracks from renowned and upcoming artists, according to the publisher.

“Featuring over 100 artists from around the globe, with an unprecedented cross-section of genres, the far-reaching track list showcases a range of global hitmakers, from Major Lazer to The Blessed Madonna and The Rolling Stones,” EA said.

“Other superstar artists include multiple BET, MOBO, MTV Europe and Q Award-winner Stormzy, multi-Platinum megastar Jack Harlow, Grammy winner Baby Keem with 17x Grammy winner Kendrick Lamar and Latin Grammy Award winner Karol G.

“It also brings together multi-Diamond rapper Ninho ft. 2x Ivor Novello Award winner Central Cee as well as breakout artists includingIndian pop sensation King, indie rock knockouts The Last Dinner Party, Obongjayar, and hot rapper KayCyy, plus unreleased tracks by producer Barry Can’t Swim ft.Surya Sen, Michaël Brun, and many more.”

EA Sports FC will be released on September 29, 2023, but early access will be available through the Ultimate Edition starting on September 22.

The game will be available for PS5, PS4, Xbox Series X/S, Xbox One, PC and Nintendo Switch.

Last week EA published a list of the top-rated EA Sports FC 24 players.

A PS5 EA Sports FC 24 console bundle will launch at the of the September, Sony announced today.