A featurette takes a behind-the-scenes look at The Exorcist: Believer with director David Gordon Green, star Ellen Burstyn, and others
We’re just two weeks away from the October 6th theatrical release of director David Gordon Green‘s The Exorcist: Believer, and today a featurette has arrived online to give us a behind-the-scenes look at the film with Green and some of the cast members, including Ellen Burstyn, who reprises the role of Chris MacNeil, the character she played in the 1973 classic The Exorcist. You can watch the featurette in the embed above.
Green recently finished working on a trilogy of Halloween sequels for Universal and Blumhouse that consisted of Halloween (2018), Halloween Kills, and Halloween Ends. Now he’s working with the companies on a trilogy of sequels to The Exorcist (watch it HERE) that begins with Believer. Green crafted the story for the film with Danny McBride (who wrote all three of the new Halloweens with him) and their Halloween Kills co-writer Scott Teems, then wrote the screenplay with Peter Sattler (Broken Diamonds). Here’s the synopsis: Since the death of his pregnant wife in a Haitian earthquake 12 years ago, Victor Fielding has raised their daughter on his own. But when Angela and her friend Katherine, disappear in the woods, only to return three days later with no memory of what happened to them, it unleashes a chain of events that will force Victor to confront the nadir of evil and, in his terror and desperation, seek out the only person alive who has witnessed anything like it before: Chris MacNeil.
Chris MacNeil is “an actress who has been forever altered by what happened to her daughter Regan five decades before.” Burstyn is joined in the cast by Leslie Odom Jr. (Hamilton) as Victor Fielding, Lidya Jewett (Nightbooks) as Angela, and newcomer Olivia O’Neill as her friend Katherine. Ann Dowd (The Handmaid’s Tale) plays Victor and Angela’s neighbor, and Jennifer Nettles (The Righteous Gemstones) and Norbert Leo Butz (Fosse/Verdon) play Katherine’s parents.
Okwui Okpokwasili (Master) is also in the cast, playing an unspecified role, and Raphael Sbarge (Carnosaur) plays a pastor. Original The Exorcist star Linda Blair is in there as well, reprising the role of Chris MacNeil’s daughter Regan.
The Exorcist: Believer is being produced by Jason Blum, David Robinson, and James Robinson. Green, Danny McBride, Stephanie Allain, and Couper Samuelson serve as executive producers. Ryan Turek is overseeing the project for Blumhouse.
Universal and Peacock forked over an amount somewhere in the range of $400 million to acquire the rights to distribute this trilogy, so you can understand why they’re trying to avoid competition. That’s a lot of money to recoup. It has already been announced that the next sequel, titled The Exorcist: Deceiver, will be reaching theatres on April 18, 2025.
What did you think of the The Exorcist: Believer featurette? Will you be watching this movie next month? Let us know by leaving a comment below.
If you’d rather just rewatch the original, that will be in theatres next month as well.
Some Disney investors aren’t exactly sailing on the company’s announcement that it plans to spend $60 billion on parks (and cruises), experiences, and consumer products over the next decade. That’s nearly twice what Disney spent on the segment over the prior 10 years.
Disney shared its plan Tuesday at its annual Investor Day; an accompanying 8-K report was filed with the SEC. It said Disney plans on “investing in expanding and enhancing domestic and international parks and cruise line capacity, prioritizing projects anticipated to generate strong returns, consistent with the Company’s continuing approach to allocate capital in a disciplined and balanced manner.”
The money will come from the company’s piggy bank as well as “other liquid assets, operating cash flows, access to capital markets and borrowing capacity under current bank facilities,” the filing continues.
Cool, cool, cool — but what about the ROI? That’s the question that left Investor Day attendees “a bit frustrated,” Wells Fargo’s lead equity analyst Steven Cahall wrote in a Wednesday morning note to clients (obtained by IndieWire).
“The spending guidance is out there, but it’s unclear if Parks earnings growth should accelerate alongside spending growth,” he said.
Hopefully it does. Without an increase in earnings, a drastic increase in spending will eat into free cash flow. And Wall Street, especially these days, doesn’t like to see that. It’s why shares in Disney (DIS) have dropped from $84.92 on Monday night to as low as $81.80 this morning. The Wells Fargo price target for Disney’s stock remains unchanged at $110 per share.
Why so high (relative to the market)? Cahall (still) believes Disney’s content is under-monetized in its direct-to-consumer (DTC, or streaming) business “given the valuable library and relatively low ARPU on Disney+ and Hulu.” As of July 1, the average revenue per user for Disney+ was $6.58 per month ($7.31 in the U.S. and Canada); for Hulu, it was $12.39/month. At the time, the core Disney+ service (not India’s Hotstar) had 105.7 million users (46 million in the U.S. and Canada); Hulu had 44 million.
In terms of revenue, Disney’s media and entertainment distribution (DMED, internally) is still nearly twice the size of its parks, experiences, and products (DPEP). But in terms of actual profit, the opposite is true. And it is the latter segment that has been surging as of late — especially at the international parks — while linear-television (broadcast and cable) woes and large investments in streaming have weighed the content side down.
One experience that definitely didn’t work out was the Star Wars: Galactic Starcruiser hotel, an ambitious and expensive project for which Disney took a $250 million hit in what executives referred to as “accelerated depreciation.” The resort was open for only one year before shuttering due to a lack of fan interest. (Really, it was a lack of fans who were willing to part with $5,000 — or more — for a two-night stay.)
Cahall, who was in attendance in Orlando, foresees Disney+ being “profitable earlier and more strongly than consensus.” He was swayed by Disney CEO Bob Iger’s emphasis on a “renewed focus on IP improvement,” which is the whole game when it comes to the Walt Disney Company — both in terms of parks and video content.
Shocking tragedies shatter a tight-knit South Carolina community and expose the horrifying secrets of its most powerful family.
Certificate:Suitable for ages 15 and up
Year: 2023
Duration: 2 Seasons
Available Seasons: Season 1 (3 Ep)
Audio: English – Audio Description, English [Original], European Spanish, French, Italian, Polish, Brazilian Portuguese
Subtitles: Arabic, English, French, Polish, Ukrainian, Traditional Chinese
Episode Length: 42min
– English Audio Description
Cast and Crew
Production & Season Details:
Status: Returning Series”Murdaugh Murders: A Southern Scandal” is a TV show produced by The Cinemart. The show was originally broadcast on Netflix and premiered on February 22nd 2023. So far there have been 2 seasons (comprising of 6 episodes) of “Murdaugh Murders: A Southern Scandal”. The most recent episode aired on February 22nd 2023 and more seasons are expected in the future.
Watch the trailer for “Murdaugh Murders: A Southern Scandal”
Culture Secretary Lucy Frazer has addressed the Russell Brand allegations for the first time, urging the UK TV industry not to becoming “synonymous with the scandals of #MeToo.”
Frazer wouldn’t go into detail on the allegations that emerged over the weekend but delivered a calling card to the wider industry to provide “places where people feel safe, where working cultures are responsible and accountable and don’t allow abuses of power.”
“I would urge all of you as leaders in your industry to look hard at your culture and processes in your own organizations and lead change if change is needed,” she added. “This is an industry that young people grew up dreaming of working in, one where the sky is the limit for talent. It is incumbent on all of us to make sure this industry is synonymous with talent, opportunity and inclusivity not the scandals of #MeToo.”
Frazer described the allegations, which came from foiur women and range from rape to sexual assault, as “deeply shocking” and encouraged “anyone who believes they were victims of sexual offences to come forward.”
The BBC, Channel 4 and Big Brother producer Banijay have all launched investigations and she called on all those “involved in [Brand’s] employment” to conduct “transparent investigations.”
Brand’s representatives have not responded to repeated requests for comment. Brand published a video across his social media channels in which he preemptively denied the “litany” of allegations about his criminal behavior. “The relationships that I had were absolutely always consensual,” he said. “I was always transparent about that then, almost too transparent. And I’m being transparent about it now.”
“Best position to bounce back from strikes”
“We want to ensure that the UK is in the best possible position to bounce back once the strikes are resolved,” added Frazer of the ongoing labor action.
Frazer was telling the RTS Cambridge Convention how she wants to harness technological change to improve the UK TV sector, and she mentioned the long-running dual U.S. labor strikes for the first time.
A recent survey from UK broadcasting union Bectu found that 80% of the freelance community have been impacted by the strikes, which has seen a number of shows and movies halted in the nation.
Frazer’s Culture, Media and Sport department, however, recently scotched the idea of an Income Replacement Scheme to help freelancers with lost earnings, an idea carried in a petition that has been signed more than 30,000 times.
Earlier this week, Bectu penned an open letter to the AMPTP urging “financial support for UK crew” during the strikes.
“We want to ensure that the UK is in the best possible position to bounce back once the strikes are resolved,” said Frazer, pointing to a desire to “invest and spur growth across the UK.”
“Unregulated TV Channels”
Elseewhere, almost 900 “unregulated” TV channels could be brought under Ofcom’s harmful content rules in a potentially vast expansion of the regulator’s code, unveiled by Frazer.
Streamers such as Netflix and Amazon Prime Video are already preparing to have to abide by Ofcom rules once a Media Bill is passed and Frazer today said they could be joined by FAST channels including those dedicated to particular shows such as Come Dine with Me or MasterChef. Other examples provided by Frazer include networks World War TV or The Chat Show Channel.
Separate to the Media Bill, A consultation into these circa-900 channels has been launched.
Frazer’s Culture, Media and Sport department said three-quarters of UK households now have a smart TV, through which audiences can access a growing number of unregulated and mostly internet-based TV channels, with a particularly rapid increase in FAST, which stands for free ad-supported streaming television.
“We recognise that internet provided TV is growing… But while this shift is an exciting one, it’s our job to look at those channels that fall outside our existing regulations,” said Frazer. “That’s why we are going to consult on whether we need to extend regulation to these unregulated channels.”
She added that “any change to regulations must strike a balance between protecting people – particularly the young and vulnerable – while protecting freedom of speech, and not unduly burdening the TV industry.”
Regulating the streamers in this vein is a key plank of the government’s upcoming but much-delayed Media Bill. Netflix has already warned that the move could prove “unworkable” or risks a “chilling effect,” and the streamer has threatened to preemptively remove films and TV shows from its UK library to avoid falling foul of the regulations.
The Culture Secretary today reinforced the government’s commitment to bringing forward a Media Bill that will “expand opportunities for public service broadcasters to take advantage of the digital age.”
Frazer also vowed to protect the traditional TV viewer in the face of major technological shifts. She said “new ways of consuming TV should not come at the expense of those who still enjoy terrestrial television,” coming a few days after the British broadcasters unveiled a collaboration on a free TV service delivered over broadband.
Frazer has also launched a “major research and engagement programme looking at how UK audiences will get their TV in the decades to come.”
After over twenty years, *NSYNC will reunite for a brand-new song, leaving fans excited for new content.
At one time, the boy band *NSYNC was one of the most popular acts in the world. Forming in 1995, the band, “sold over 70 million records, becoming one of the best-selling boy bands of all time.”
Rolling Stone magazine recognized them as one of the Top 25 Teen Idol Breakout Moments of All Time.
Throughout the years, the five original members of the boy band, which includes Justin Timberlake, Joey Fatone, Chris Kirkpatrick, Lance Bass, and JC Chasez have occasionally reunited since 2002, when they last recorded new material, including at the 2013 MTV Video Music Awards and when they received a star on the Hollywood Walk of Fame in 2018.
They worked with Epic Rights, a branding and licensing company in 2017 to celebrate the 20th anniversary of the band in 2018, with Lance Bass sharing in a statement, “The band is thrilled to create an exciting new line of merch with Epic Rights in celebration of our 20th Anniversary.”
The CEO of Epic Rights at the time added that “*NSYNC ushered in the modern age of huge merchandise sales both at their sold-out concerts and at retail. We are certain we will have equal success today.”
The 20th anniversary was marked by the release of their first single “I Want You Back”, which came out in March 1998.
The band earned two number-one hits on the Billboard Pop Airplay chart in the late 1990s and early 2000s with “Bye Bye Bye” and “It’s Gonna Be Me” in 2000. On the Billboard Hot 100, they released songs that landed them, “six top 10s and a lone No. 1 hit,” with “It’s Gonna Be Me,”
These songs came from the album No Strings Attached. Released in March of 2000, No Strings Attached sold 2.4 million copies in its first week, a record that the band kept until Adele’s 25albums surpassed its week-one sales in 2015.
Their follow-up album, Celebrity, was also number one on the charts, spending a week in the top position in August 2001.
*NSYNC was one of the boy bands that Millennials grew up with in the late 1990s, along with the Backstreet Boys, 98 Degrees, B2K, and Hanson.
Being without new music from the band for over twenty years led many to wonder if fans would ever hear new music from them again.
After they reunited at the 2023 MTV Video Music Awards to present the Best Pop Award to Taylor Swift for her song “Anti-Hero”, Swift proclaimed, “ “Are you guys gonna do something? I need to know what it is!”
As it turns out, they will. Even Taylor Swift is a fan, and along with other fans, she won’t have to wait long for new music from the band for much longer, as it was announced that they will release a new song for the first time since 2002.
The song, “Better Place” was announced on September 14 along with a trailer for the film the song will appear in, Trolls World Tour.
People began speculating about a musical reunion after seeing the first letter of the *NSYNC logo appearing on posters in New York, which featured a QR code that led to the site TakeYouToABetterPlace.com that teased the new song.
*NSYNC member and pop star in his own right, Justin Timberlake, has starred in the previous Trolls films, with his hit song “Can’t Stop The Feeling” featured prominently in the first feature in 2016.
Fans have waited for many years and it’s a great thing to see the long wait has finally paid off as fans are finally getting the new musical content they’ve been yearning for for years from *NSYNC.
Film Independent’s annual Board Member Matching Campaign has been extended to September 29! To raise support for the next 30 years of filmmaker support, all donations make before or on the 29th will be doubled—dollar-for-dollar up to $100,000. To celebrate the campaign, we’re re-posting a few of our most popular blogs.
For those of us who have been here for a decade or two, it’s remarkable to consider both how much and how little the city of Los Angeles has changed over the years. There are still plenty of the old landmarks—the Hollywood Sign, Pink’s Hot Dogs, that dude who rollerblades around is white robes and plays guitar on the Venice boardwalk—while other, seemingly indestructible, institutions have tragically bitten the dust (ArcLight, The Cat & Fiddle Pub, Hollywood Park).
So! With local issues perpetually at the forefront of our mind this week, here now are ten films that remind us of life in Los Angeles during a very particular and only recently bygone era: the ’90s and early 2000s. These films are honest portrayals of what livin’ la vida loca LA-style is all about, whether they’re a glimpse into the lifestyles of the rich and famous, the realities of showbiz or struggles within SoCal’s toughest ‘hoods. These indies movies showcase all the good, bad and ugly that is life in Los Angeles, as true now as they were back then.
SHORT CUTS (1993)
Director: Robert Altman
Writers: Robert Altman, Frank Barhydt
Starring: Andie MacDowell, Julianne Moore, Tim Robbins, Lily Tomlin
Producer: Cary Brokaw
Why We Love It: Trailblazing filmmaker Robert Altman’s movies (almost) always boast big ensembles, long takes, even longer monologues and intersecting stories involving countless complex characters—all brought to life by some of the finest players in the motion picture industry. But even amid the rest of Altman’s filmography, Short Cuts stands tall as one of the writer/director’s most celebrated and acclaimed works. It’s also undoubtedly one of the first films that’d come to mind for any cinema buff asked to name which movies remind them of Los Angles and what life in the city is actually like for 99% of its inhabitants. Featuring a cast of too many A-list stars to name, Short Cuts depicts the complicated lives of several suburban LA residents colliding as they lie, cheat, love and hate amidst earthquakes and Medfly infestations. The film was nominated for four Film Independent Spirit Awards and won three: Best Feature, Best Director and Best Screenplay. Not to mention this is also the film where two-time Spirit Award winner Julianne Moore delivered her breakthrough film performance.
Where to Watch: Criterion DVD/Blu-Ray
MENACE II SOCIETY (1993)
Directors: Albert and Alan Hughes
Writer: Tyger Williams (screenplay)
Starring: Larenz Tate, Tyrin Turner
Producer: Darin Scott
Why We Love It: On LA’s toughest streets, Hollywood dreams are pretty much obsolete as young African-Americans negotiate a dangerous world of poverty, gangs, drugs and death. Survival is the priority for Caine (Spirit Award nominee Tyrin Turner), a hustler and street thug determined to turn his life around and free himself from a life of crime and violence. The Hughes Brothers made a splash with this gritty indie drama, which won the 1994 Spirit Award for Best Cinematography. Menace remains one of the mid-‘90s most harrowing depictions of South Central gang violence, capturing the voice of communities and individuals who weren’t often being represented in mainstream movies of the day. Costarring Larenz Tate, Jada Pinkett Smith and Spirit Award Winner Samuel L. Jackson, Menace II Society is as audacious and entertaining as it is important.
Where to Watch: Pluto TV
CLUELESS (1995)
Writer and Director: Amy Heckerling
Starring: Alicia Silverstone, Stacey Dash, Brittany Murphy, Paul Rudd
Producers: Robert Lawrence, Scott Rudin
Why We Love It: You simply can’t make a list of movies that perfectly capture LA life without including Amy Heckerling’s totally classic ‘90s teen comedy. In the role that made her famous, Alicia Silverstone plays Cher: the most popular 16-year-old high school “It” girl in Beverly Hills circa 1995. Cher lives a lavish lifestyle, boasting the best clothes, the best friends, and charitably giving out-of-town newbie Tai (Brittany Murphy) a makeover to ensure she’s automatically initiated into the cool kids clique. Those who love the film can relate almost anything in life to a Clueless moment. From Cher’s shopping sprees on Rodeo Drive to high school students with bandaged, post-plastic-surgery faces to the garish Beverly Hills architecture, this movie is, like, totally as LA as it gets.
Where to Watch: Paramount+, Pluto TV
FRIDAY (1995)
Director: F. Gary Gray
Writer: Ice Cube, DJ Pooh
Starring: Ice Cube, Chris Tucker
Producer: Patricia Charbonnet
Why We Love It: After Cheech and Chong but before Jay and Silent Bob, “Smokey and Craig” sat on a porch, got high and went looking for something to do. It may not sound like a million-dollar pitch, but this cult favorite and surprise success would go on to inspire two sequels and pave the way for Ice Cube and F. Gary Gray’s 2015 N.W.A. biopic, Straight Outta Compton. Gray’s sidesplitting comedy stars Cube and Chris Tucker as two stoners who need to come up with $200 by the end of Friday night to pay back their dealer. Friday is one of those movies where you just. Can’t. Stop. Laughing. You may even feel like you’ve gotten a contact high from all of the onscreen pot smoke. A true landmark in stoner-movie history, the film laid the groundwork for countless knockoffs and will forever stand out as one of cinemas most memorable marijuana movies, all while showing a much different South LA than was glimpsed in Boyz n the Hood or Menace II Society.
Where to Watch: Max
SWINGERS (1996)
Director: Doug Liman
Writer: Jon Favreau
Starring: Jon Favreau, Vince Vaughn, Heather Graham
Producer: Victor Simpkins
Why We Love It: Long before Iron Man and Wedding Crashers, Swingers was the film that put Jon Favreau and Vince Vaughn on the map, making the duo an R-rated odd couple for Generation X and showing Hollywood that the new kids in town weren’t necessarily losers—just late bloomers. Doug Liman’s indie comedy about two aspiring actors who get caught up in LA’s swanky nightlife scene was a true underdog the year of its release, and Favreau and Vaughn its big success story. Swingers was an especially important career moment for Favreau, who not only celebrated the victory of having his first screenplay become an instant indie classic, but who also saw adoring fans claim the film as the definitive guide to landing ladies in the mid-‘90s LA lounge scene. The film would inspire Favreau’s directorial debut Made, a sort-of-sequel that featured the duo once again hard at work in Hollywood trying to make ends meet.
Where to Watch: Paramount+
CHUCK & BUCK (2000)
Director: Miguel Arteta
Writer: Mike White
Starring: Mike White, Chris Weitz, Lupe Ontiveros
Producer: Matthew Greenfield
Why We Love It: Before he pulled out a surprise pandemic-era hit with HBO’s White Lotus, indie stalwart Mike White kicked off his career with this oddball character study directed by frequent collaborator Miguel Arteta (Beatriz at Dinner), about an introverted naif, Buck (White), who reconnects with an old childhood friend, Chuck (Weitz), at Buck’s mother’s funeral. Freshly untethered following his loved one’s death, Buck takes Chuck up his hollow offer to come visit him in Los Angeles. Taking up residence in a cheap motel, Buck soon falls in with a local theater community run by headstrong box office manager Beverly (Oliveros). Surrounded by his new creative community, Buck tries to work through his trauma and process his complicated history with Chuck, who grows more and more weary of Buck’s helicoptering friendship with each passing day.
Where to Watch: FreeVee
THE ANNIVERSARY PARTY (2001)
Writers and Directors: Alan Cumming, Jennifer Jason Leigh
Starring: Alan Cumming, Jennifer Jason Leigh, Parker Posey, Phoebe Cates
Producers: Alan Cumming, Jennifer Jason Leigh
Why We Love It: If you’ve never seen this collaboration between two of independent film’s finest actors, then shame on you! Alan Cumming and Jennifer Jason Leigh’s Spirit Award nominated dramedy is the ultimate voyeur’s look at a typical (i.e. make-believe) Hollywood gathering. Cumming and Leigh play a couple on the mend from a temporary separation, celebrating their wedding anniversary with a dozen or so of their closest Hollywood friends. Leigh and Cumming (who co-wrote the film together) loosely based each of the film’s characters on the actors that played them, including Gwyneth Paltrow as an A-list “goddess” movie star, Jane Adams and John C. Reilly as an eccentric married couple and—most ironically—real-life husband-and-wife Kevin Kline and Phoebe Cates as, respectively, a big-time Hollywood star and his wife, who gave up her once-flourishing acting career to sit on the sidelines and raise a family. Shot digitally in less than a month on a modest budget, The Anniversary Party exemplifies what happens when talented friends come together to make something speciat. It’s exactly what you’d hope for an elite Hollywood social gathering.
Where to Watch: Kanopy
MULHOLLAND DRIVE (2001)
Writer and Director: David Lynch
Starring: Naomi Watts, Justin Theroux, Laura Harring
Producers: Neal Edelstein, Tony Krantz, Michael Polaire, Alain Sarde, Mary Sweeney
Why We Love It: Another famous street, another noir and another exploration of Hollywood’s dark side. David Lynch never fails to deliver original, twisted films that are instantly recognizable as uniquely his own without the viewer even seeing the credits. Deeply layered with puzzling plot points to trick viewers, Lynch dares us to solve multiple mysteries all while questioning whether or not we’re on a wild goose chase. In the end, you’ll have to draw your own conclusions about what means what, but at least one thing’s for sure: there’s never a dull moment along the way. Naomi Watts delivers a crazy-good performance as an aspiring, starry-eyed actress who gets tangled up in a web of lust and curiosity after finding a mysterious woman (Laura Harring) in her shower. Throw in a car accident, a movie director (Justin Theroux) being forced to cast an unwanted actress and a steamy romance between leading ladies, and you’ve got a map to Mulholland Dr.
Where to Watch: Criterion DVD/Blu-Ray
LAUREL CANYON (2002)
Writer and Director: Lisa Cholodenko
Starring: Frances McDormand, Kate Beckinsale, Christian Bale
Producer: Jeffrey Kusama-Hinte
Why We Love It: Lisa Cholodenko’s sophomore feature isn’t as dour as her drug-heavy debut High Art, but that’s not to say it isn’t just as intoxicating. Her 2002 dramedy is set in Laurel Canyon, the famous Hollywood Hills bohemian enclave where aging music producer Frances McDormand still lives and works. McDormand’s character is a successful, pot-smoking showbiz type, sexually uninhibited and dating a younger musician played by Alessandro Nivola. In other words—she’s wild, cool and free. Her son (Christian Bale) is the complete opposite: a smart, serious psychiatrist who has agreed to temporarily move into his mother’s house with his uptight fiancée (Kate Beckinsale). It doesn’t take long before the heat of the Valley starts getting to everyone, as mother and son psychoanalyze one another and discuss what may or may not have been appropriate parenting. Everything from the music to the conversations and interactions emphasizes LA life and how “the industry” seduces the curious newcomers. McDormand and Nivola both received Spirit Award nominations for their performances.
Where to Watch: Tubi
FRIENDS WITH MONEY (2006)
Writer and Director: Nicole Holofcener
Starring: Jennifer Aniston, Catherine Keener, Frances McDormand, Joan Cusack
Producer: Anthony Bregman
Why We Love It: There are two things you can always count on when sitting down to watch a film written and directed by Spirit Award winner Nicole Holofcener: 1) the movie is going to star Catherine Keener, and 2) it’s going to be a well-observant, slice-of-life comedy of manners with an all-star cast and plenty of sarcastic wit to go around. Like several of Holofcener’s films, Friends with Money take place in Los Angeles and presents a variety of strong, independent female characters portrayed by some of the industry’s most talented leading ladies. This, her third film, features Jennifer Aniston as the “poor” friend who cleans houses to get by—even as best friends Keener, McDormand and Cusack all range from upper middle class to stinkin’ rich. Yet all four are linked by the common thread of mid-life chaos, from public outbursts and nervous breakdowns to sexually ambiguous husbands and spoiled children. Holofcener’s biting wit and razor sharp tongue are in full effect as she brings the desperation of these Los Angeles women front and center. Like just about all of her screenplays, Holofcener received a Spirit Award nomination for the film, and Frances McDormand took home the Spirit Award for Best Supporting Female.
Where to Watch: VOD rental, all platforms
Coming soon… The 2023 Film Independent Forum!
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Newcastle fans made a splash in Milan ahead of the Champions League showdown on Tuesday, with video capturing the moment one leapt into the city’s canal and took on a local rowing team in a bizarre race.
The over-confident fan left the rowers stunned as he divebombed into the Naviglio Grande and attempted to swim alongside them.
Delighted fans egged him on as he stripped down to his boxers to cool off in the canal, which was lined with Newcastle and England flags as supporters built up to the game.
Despite his bravado and enthusiastic cheers from the crowd, the bold swimmer only managed a few strokes before he was outpaced by the boat.
As the rowing boat disappears into the distance, clearly winning the competition, boos erupt as the man slowed down to a dejected paddle.
The fan left the rowers perplexed as he divebombed into the Naviglio Grande and attempted to swim alongside them
Going, going gone: The over-confident fan launched himself into the Naviglio Grande as a rowing boat went past
The men in the quad scull looked perplexed as the man desperately tried to race them, before he quickly ran out of steam
‘He could have made it!’ one onlooker yelled sarcastically. Another joked that the man might need a life ring as he lost his stamina.
He later tried to clamber out of the canal, with no ladder or helping hand in sight.
The fan’s bizarre stunt came just hours before his team were due to play AC Milan at the San Siro.
Jubilant fans filled the streets as the Magpies returned to the Champions League for the first time in 20 years.
The canal was lined with Newcastle and England fans as delighted supporters cheered their man on. Sadly, he quickly lost his stamina and the Milanese rowers pulled ahead
Hundreds of raucous fans piled into the Lombardy capital, many going wild as they drunkenly took over the streets of the city.
More fans opted to go topless as they enjoyed pre-match drinks in the city centre, with video showing a handful sliding on their chests through the rain-soaked streets.
Their antics were slammed as ‘cringe’ by some locals, with the video showing annoyed residents pushing past dozens of men as they set up a slip and slide on the cobbled streets.
The group cleared a smooth part of the thoroughfare and put out plastic cups before launching themselves like a human bowling ball.
One man took a few people out as he flew towards the crowd, leaving members of the Toon Army in hysterics.
But after an entertaining build-up to the game, spirits were sadly dampened by the result, with a 0-0 draw on Tuesday night.
Dixie D’Amelio, 22, is dealing with a serious health issue that affects her both physically and mentally. The TikTok star has premenstrual dysphoric disorder (PMDD), and she’s been open with her fans about her diagnosis and the impact it’s had on her health. During the season 3 premiere of The D’Amelio Show on Hulu, Dixie explained that PMDD involves having “really bad PMS.” She explained that the condition has caused her “extreme anxiety and depression” and has affected her “will to live.”
While Dixie is openly struggling with PMDD, she’s been determined to overcome her health crisis and lead a happy and healthy life. Here is everything you need to know about Dixie D’Amelio’s health.
Dixie D’Amelio Diagnosed With Premenstrual Dysphoric Disorder
Dixie revealed her diagnosis with PMDD on an Instagram Live in October 2022. “I wasn’t feeling great and not really sure why,” Dixie said at the time. “I recently got diagnosed with this thing called PMDD, which is premenstrual dysphoric disorder. It really affects your moods and your behavior and many different parts of your life. It disrupts my life, my attitude, my personality, my relationships, and just who I am as a person.”
Dixie D’Amelio has premenstrual dysphoric disorder (Photo: Jason Sean Weiss/BFA.com/Shutterstock)
Dixie contuined, “I have never felt so low and just down. And having no idea what was wrong with me was very alarming. I just felt like I had no control over my body or mind and I had no idea what was wrong but it would turn on and off like a light switch. That was very confusing to me because how can I go one day feeling fine and then the next day not wanting to be here anymore?”
What Is Premenstrual Dysphoric Disorder?
Premenstrual dysphoric disorder (PMDD) is a more serious form of premenstrual syndrome (PMS) that causes physical and emotional symptoms every menstrual cycle in the week or two before your period, according to the Mayo Clinic. Symptoms of PMDD include anger or irritability, anxiety and panic attacks, depression and suicidal thoughts, fatigue and low energy, food cravings, headaches, insomnia, and mood swings. The condition affects up to 10% of women, per the Mayo Clinic.
How Long Has Dixie Been Sick?
When Dixie revealed her diagnosis in Oct. 2022, she said she was dealing with the symptoms for the past seven years. That means Dixie has been struggling with PMDD since 2015.
“I’m very happy that I know what’s wrong because now I can find better ways to handle my emotions,” she said on her Instagram Live last year.
Dixie D’Amelio has been open about her battle with PMDD (Photo: Shutterstock)
In May 2023, Dixie was hospitalized for dehydration. The social media influencer nearly passed out ahead of the D’Amelio Footwear shoe launch event. At the time, TMZ reported that an ambulance was called for Dixie and she was administered fluids with an IV. She was released from the hospital later that day and still made it to the event.
How Is Dixie D’Amelio Doing Today?
Dixie gave the latest update on her health during the season 3 premiere of her family’s reality show that aired September 20. “I’ve been doing a lot of therapy, like twice a week,” she said in a confessional. “But I am doing a lot better.”
During the episode, Dixie explained that her symptoms involve “extreme anxiety, depression, losing the will to live, and a lot of irritability and anger. But hopefully people around me can understand that.” She also talked about how her sister Charli D’Amelio “wasn’t really around” when she was diagnosed because she was doing Dancing with the Stars. Later in the episode, Dixie went on a podcast to talk about her health and explained that she would “like to advocate for people with PMDD.”
Britain passed a sweeping law on Tuesday to regulate online content, introducing age-verification requirements for pornography sites and other rules to reduce hate speech, harassment and other illicit material.
The Online Safety Bill, which also applies to terrorist propaganda, online fraud and child safety, is one of the most far-reaching attempts by a Western democracy to regulate online speech. About 300 pages long, the new rules took more than five years to develop, setting off intense debates about how to balance free expression and privacy against barring harmful content, particularly targeted at children.
At one point, messaging services including WhatsApp and Signal threatened to abandon the British market altogether until provisions in the bill that were seen as weakening encryption standards were changed.
The British law goes further than efforts elsewhere to regulate online content, forcing companies to proactively screen for objectionable material and to judge whether it is illegal, rather than requiring them to act only after being alerted to illicit content, according to Graham Smith, a London lawyer focused on internet law.
It is part of a wave of rules in Europe aimed at ending an era of self-regulation in which tech companies set their own policies about what content could stay up or be taken down. The Digital Services Act, a European Union law, recently began taking effect and requires companies to more aggressively police their platforms for illicit material.
“The Online Safety Bill is a game-changing piece of legislation,” Michelle Donelan, the British secretary of technology, said in a statement. “This government is taking an enormous step forward in our mission to make the U.K. the safest place in the world to be online.”
British political figures have been under pressure to pass the new policy as concerns grew about the mental health effects of internet and social media use among young people. Families that attributed their children’s suicides to social media were among the most aggressive champions of the bill.
Under the new law, content aimed at children that promotes suicide, self-harm and eating disorders must be restricted. Pornography companies, social media platforms and other services will be required to introduce age-verification measures to prevent children from gaining access to pornography, a shift that some groups have said will harm the availability of information online and undercut privacy. The Wikimedia Foundation, the operator of Wikipedia, has said it will be unable to comply with the law and may be blocked as a result.
TikTok, YouTube, Facebook and Instagram will also be required to introduce features that allow users to choose to encounter lower amounts of harmful content, such as eating disorders, self-harm, racism, misogyny or antisemitism.
“At its heart, the bill contains a simple idea: that providers should consider the foreseeable risks to which their services give rise and seek to mitigate — like many other industries already do,” said Lorna Woods, a professor of internet law at the University of Essex, who helped draft the law.
The bill has drawn criticism from tech firms, free speech activists and privacy groups who say it threatens freedom of expression because it will incentivize companies to take down content.
Questions remain about how the law will be enforced. That responsibility falls to Ofcom, the British regulator in charge of overseeing broadcast television and telecommunications, which now must outline rules for how it will police online safety.
Companies that do not comply can face fines of up of 18 million pounds, or about $22.3 million, or up to 10 percent of global revenue, whichever is the higher amount. Company executives could face criminal action for not providing information during Ofcom investigations, or if they do not comply with rules related to child safety and child sexual exploitation.
An Alabama high school band director was in for a shock after refusing to stop a musical performance that cops asked him to stop — and we mean he literally got a shock!
Johnny Mims was arrested Thursday in Birmingham for disorderly conduct and a slew of other charges, after police say he disobeyed their orders to tell his band kids to stop playing after a football game had ended, as the school was trying to clear the place out.
New body cam footage was released showing last week’s confrontation, and it’s pretty wild. The guy basically tells cops to piss off, refusing to halt things … and then getting Tasered.
It’s unclear why Mims didn’t wanna comply, but what is clear is that he was dead-set on doing this last song with the band in the stands — even though the game was long over. Supposedly, this follows in some sort of “5th quarter” tradition, but, on its face, it’s bizarre.
Anyway, things escalated quickly. The first officer who responds tells Mims it’s time to go and that he’s gotta wrap it up … but Mims tells him to get out of his face, continuing to conduct even though the cop was standing right in front of him. The band kids kept playing loudly too.
Eventually, more officers arrived, and they attempted to restrain/cuff Mims, which led to a clear struggle between the cops. Other folks appear to have gotten in the mix as well.
At a point, one cop threatens to tase Mims if he doesn’t settle down … and then the electricity starts flowing. He looks to have been zapped at least 3 times.
Now, in the aftermath, Mims claims excessive force was used on him. Birmingham PD says there’s an internal investigation over this … but no word on officers being reprimanded yet.
RoboCop (2014) deserved more credit than he got, poor guy! Well, not so much a guy anymore as a random assortment of organs that were formally a guy – RoboCop has thrilled cult sci-fi fans for four decades!
An oddball in the superhero genre, the laconic cyborg in question remains in limbo, prompting long-time enthusiasts to ask: where is he now? Is their favorite law enforcement official in chromed armor going on patrol once more?
The Future, Passed!
Nacon
In the likely future of RoboCop, sci-fi fanatics understand that therein lie infinite possibilities. RoboCop, as a character in canon video game media as well as comic books, has come across the likes of the Aliens (yes – those ‘Aliens‘), Predators (yes – those ‘Predators‘), and Terminators (yes – Arnie ‘Terminators‘!).
Given the CGI uptick and advancement in cinematic immersion, it’s easy and feasible to see Peter Weller and Arnold Schwarzenegger slugging it out in an abandoned nuclear warehouse of the future. This type of confrontation could be easily visualized given CGI advancement and films such as 2017’s Ready Player One, which depicted multiple crossover properties interacting via the lens of virtual reality.
Either way, for long-time sci-fi fans and RoboCop enthusiasts – there’s good news. Will there be a new RoboCop? It seems the answer is a resounding yes! A brand new offering in the RoboCop cinematic universe has been announced by Amazon. The new film comes due to Amazon’s $8.5 billion acquisition of the Hollywood studio MGM back in March 2022, with several titles marked and set aside for remakes, sequels, and more.
Why didn’t RoboCop’s 2014 re-imagining get a sequel? There had originally been plans to pursue that film with a follow-up, but Sony Pictures Releasing canceled it due to the lack of interest in the remake. Since then, there has been talk of releasing a new reboot, which would be written as a direct sequel to the 1987 offering.
Due to recent mergers, however, there may be some good news for Officer Alex Murphy on the horizon! All of the series and new movies Amazon has announced to be in development come from the recent acquisition of MGM last year. After sifting through almost a full century of films and classic shows from the Hollywood studio, Amazon has decided to remake some classic titles, with one of the first undertakings in the works being the RoboCop franchise!
Tentatively titled RoboCop: Rogue City, the new RoboCop iteration would follow an unknown newcomer – apparently to be played by John Cena – called Marc Kyle. Kyle’s backstory will vary negligibly from the earlier RoboCop story, with Kyle being a soldier, whereas Peter Weller’s Alex Murphy was a police officer.
Similar to Murphy, however, Kyle will die in service and will be resurrected as a cyborg, with Murphy there as his mentor. This sounds very neat, but the core concepts feel a little close to Bloodshot (2020), which had nearly an identical storyline. If it weren’t for the comic series from Valiant that had existed decades earlier, many enthusiastic moviegoers saw Bloodshot as a soft RoboCop reboot!
Michael Miner and Ed Neumeier were the initial pensmiths who wrote the first flick. However, multiple issues eventually sank the project back in the ’80s. The two soon found themselves involved in the writer’s strike, and as a result, they were summarily dismissed from the assignment.
Eventually, comic book legend Frank Miller had been tapped, and he wrote what would become the actual sequel, RoboCop 2, directed by Irvin Kershner. However, Neumeier and Miner’s screenplay, initially titled RoboCop: The Corporate Wars, began picking up steam again around 2016, right when Donald Trump was about to be elected president.
A Decade Ago and Beyond
Warner Bros. Games
2014’s remake was a disappointment as a RoboCop film for two specific reasons: Alex keeps taking off his helmet after he becomes RoboCop, allowing him to live his life relatively normally as a human and reconnect with a family he’s supposed to have lost, which humanized him and therefore defeated the point of a hybridized cyborg stuck between the world of mankind and the ‘internet of things’ world of the machines.
Regardless of this oversight in the past, MGM has landed on a new director to helm their upcoming RoboCop sequel, which will serve as a direct sequel to Paul Verhoeven’s original film. Back in August, Neill Blomkamp disclosed that he had departed RoboCop Returns despite having already put in quite a bit of work on the undertaking.
Blomkamp desired to simulate director Paul Verhoeven’s technique for the sequel, wanting it to feel like it was only moments after the original film concluded. While RoboCop Returns never quite reached the big screen, a new RoboCop movie and TV series are currently in the works, with Prime Video holding the rights to the franchise.
The graphic novel adaptation of Stephen King’s beloved The Dark Tower series is being rereleased as three massive hardcover omnibus collections over the coming weeks. Though The Dark Tower graphic novel adaptation remains incomplete, it’s still an excellent way to experience part of Stephen King’s celebrated dark sci-fi/fantasy universe, and you can read all of the comics thanks to these new hardcover omnibus collections. Even better, preorders for each volume are discounted at Amazon. And if you want to experience the whole saga, you can save 50% on the original eight-novel box set at Amazon.
Stephen King’s The Dark Tower: Beginnings hardcover omnibus
The first omnibus includes all issues from Stephen King’s The Dark Tower: Beginnings, a prologue based on flashback sequences in the original novels that detail protagonist Roland Deschain’s early life leading up to the events of the original Dark Tower novels. The 800-page hardcover tome releases on October 10 for $100, but you can preorder it for just $90 at Amazon.
Stephen King’s The Dark Tower: The Gunslinger hardcover omnibus
A few weeks later, Stephen King’s The Dark Tower: The Gunslinger hardcover omnibus launches on October 24. This 736-page collection includes every issue of The Dark Tower: The Gunslinger series, which adapted King’s original The Gunslinger novel plus several shorter Dark Tower stories into comic book form. You can preorder Stephen King’s The Dark Tower: The Gunslinger hardcover omnibus at Amazon for $90 (normally $100).
Stephen King’s The Dark Tower: The Drawing of the Three hardcover omnibus
The third and final omnibus, The Dark Tower: The Drawing of the Three, launches on November 1. This third run adapts events from books two and three of The Dark Tower series, and this 464-page omnibus includes all issues before Marvel discontinued the series in 2017. You can preorder The Dark Tower: The Drawing of the Three hardcover omnibus at Amazon for $93 (normally $100). Like the other two omnibuses, this one is from Gallery 13, which took over publishing duties of the series after the series was discontinued.
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Mike Fries, the boss of All3Media co-owner Liberty Global have said they are receiving a lot of interest in the studio, including from U.K. network ITV.
“We’re just starting the [sale] process and pretty much everybody you can think of is interested, even that company here ITV,” Fries said during the Royal Television Society conference in Cambridge, U.K. on Wednesday.
“All3 is an incredible business,” Fries continued.. “But the industry is changing and studios are searching for scale, especially pure play studios like All3Media. Warner Bros. Discovery are our partner and we decided this might be a business that has greater value in a larger platform and could be a catalyst for consolidation and really help transform other studio businesses. It has nothing to do with the business itself.”
“It’s not quite as strategic to us as it might be to Warner Bros. Discovery but they’re in their own situation as you well know. It’s bittersweet. Let’s see what happens. We don’t know exactly what will happen if we end up continuing to own it, that will be fine with me as well.”
“But I think it’s an interesting time for All3Media and also finding an opportunity to scale up itself. The management team there, the assets, the studios they have are world-class and in terms of the interest we’re getting we’re not the only ones who think that.”
Amber Heard is starring in one last movie. On Wednesday, the trailer for In the Fire was released, giving fans a peek at the 37-year-old actress’ final film role.
“The film is a meditation on the almost supernatural powers of love told through a strong-willed and independent woman at the turn of the 20th century. I feel honored to be part of this labor of love and to be the lead in Conor Allyn’s vision,” Heard said of the movie, prior to the SAG-AFTRA strike. “I feel lucky to be surrounded by such an amazing cast. They’re as dedicated and magical as the characters they play.”
Heard stars in the Conor Allyn-directed thriller as a New York doctor who travels to a remote plantation in the 1890s to care for a disturbed boy with inexplicable abilities.
As Heard’s character begins treating the boy, she ignites a war of science versus religion with a local priest, who believes the child is Devil-possessed and the cause of all the village’s troubles.
The trailer comes more than a year after Heard’s legal drama with her ex, Johnny Depp, wrapped up. In June 2022, a jury found that Depp was defamed by Heard, while also ruling that Depp was liable for comments his lawyer made about Heard.
Five months later, a source told ET that Heard had left Hollywood behind, and had instead “been living in Europe since her trial with Johnny Depp.”
“She feels like she gets more privacy while overseas, likes it there, and is more comfortable,” the source said of Heard, who welcomed a daughter named Oonagh Paige in April 2021. “She is treated well and can be more under the radar and just be with her daughter.”
Then, in July 2023, a source told ET that Heard had settled in Spain with her daughter.
“She is focused on motherhood and her daughter. She is happy and feels comfortable in Spain,” the source said. “She is glad to be settled and is moving forward with her life. She doesn’t want to deal with any drama surrounding Johnny or the trial anymore.”
In the Fire will hit theaters and be available on digital and on-demand Oct. 13.
Making predictions about the Kardashians’ love lives has become a losing game (once Pete Davidson is involved, nobody is off the table), until Kim Kardashian throws us for a loop by dating a man we’d think was exactly her type, if predicting Kim Kardashian’s type was a thing we still felt confident in doing.
According to People, insiders say that Kardashian and star NFL wide receiver Odell Beckham Jr. are currently “hanging out,” after Beckham’s split from his longtime girlfriend Lauren Wood. The only surprise this time is that this relationship makes so much sense. Before Kanye West, you may recall that many of Kardashian’s boyfriends, as well as her second husband, were, like Beckham, professional athletes.
Gregg DeGuire
There was football player Reggie Bush, of course, who she started dating in 2007 before breaking up in 2010. Shortly thereafter, Kardashian started dating another football player, Miles Austin, according to InStyle, before swiftly moving on to NBA player Kris Humphries, who she married then divorced within a matter of months in 2011. It certainly gave the impression that Kardashian had a rather specific type. But after the post-West Davidson affair, all bets were off. Her next boyfriend could have been Justin Trudeau for all we knew.
Who could have predicted that, after all these years, Kim Kardashian would go for the most obvious choice ever?
Moving beyond all of our expectations, the Swordsmith Village Arc of Demon Slayer is coming to Netflix in September 2023!
Demon Slayer: Kimetsu no Yaiba is a Japanese anime series based on the manga of the same name by author Koyoharu Gotōge. The release of the anime saw the popularity of the series explode, and year on year with each subsequent season, that popularity continues to soar.
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In just over seven years since the manga debuted in February 2016, in 2020, the franchise generated over $8.75 billion in sales revenue, making it one of the highest-grossing media franchises in history. Demon Slayer also holds the title for the highest-grossing Japanese film ever, thanks to making a mammoth $500 million at the box office.
Please note that we understand the Swordsmith Village Arc is officially the third season of Demon Slayer. However, we’re adhering to Netflix’s way of categorizing seasons in an attempt to stop any further confusion, which means the Swordsmith Village Arc will be listed as season 4 when it eventually lands on Netflix.
Netflix lists seasons by the following;
Demon Slayer Season 1 – 26 Episodes
Demon Slayers Season 2 (Mugen Train Arc) – 7 Episodes
Demon Slayer Season 3 (Entertainment District Arc) – 11 Episodes
Demon Slayer Season 4 (Swordsmith Village Arc) – 11 Episodes
When will Demon Slayer season 4 be on Netflix?
For the past two seasons of Demon Slayer, we’ve been on the money when predicting the release dates of new seasons on Netflix. However, we’ve never been happier to be blindsided by the announcement that Demon Slayer season 4 or The Swordsmith Village arc will be released on Netflix on Thursday, September 28th, 2023.
A whole year earlier than what we were expecting.
The official Demon Slayer X account made the announcement at the end of August 2023.
— Demon Slayer: Kimetsu no Yaiba (English) (@DemonSlayerUSA) August 30, 2023
What is the plot of The Swordsmith Village Arc?
The synopsis for The Swordsmith Village Arc is spoiler free and sourced from Crunchyroll:
Tanjiro’s journey leads him to the Swordsmith Village, where he reunites with two Hashira, members of the Demon Slayer Corps’ highest-ranking swordsmen – Mist Hashira Muichiro Tokito and Love Hashira Mitsuri Kanroji. With the shadows of demons lurking near, a new battle begins for Tanjiro and his comrades.
In what countries can I stream Demon Slayer on Netflix?
For decades, sports on television was a bulletproof business. Live games, airing on local stations or national networks, reliably brought in big audiences and even bigger advertising hauls.
Inside of just a few years, though, nearly everything about the way TV makes money from sports has begun to change as the industry’s transition to streaming upends the marketplace. Into this volatile mix, Endeavor has drop-kicked a newly created sports entity that is built for the future of both television and fandom. As of Sept. 12, that new entity has started trading on the NYSE under the feisty ticker symbol TKO.
“We sit at the epicenter of large and fast-growing markets,” Endeavor president Mark Shapiro promises. “We live in the world of the super fan.”
TKO Group Holdings was birthed as a public company this month with the completion of Endeavor’s acquisition of WWE, the long-dominant pro wrestling company owned and operated for 70 years by the McMahon family. Endeavor leaped at the chance to acquire the sui generis WWE franchise because it’s a natural companion business for UFC, the world’s most popular mixed martial arts league, which Endeavor bought for $4.1 billion in 2016. At the time, the industry snickered that Endeavor CEO Ari Emanuel overpaid for UFC in his zeal to expand Endeavor beyond its roots as a talent agency into a full-blown media company. Six years later, WWE’s internal struggles opened the door for Endeavor to engineer the merger of UFC and WWE into a separate company, TKO. The newly created fight club is valued at $21.4 billion, with UFC accounting for $12.1 billion of that valuation.
Reigns: Per Bernal/WWE; O’Malley: Mike Roach/Zuffa LLC/Getty Images
The formation of TKO as a separate stock is designed to attract investors who only want to put money into a sports-focused venture rather than bet on the fortunes of the entirety of Endeavor, whose holdings now range from the Professional Bull Riders league to WME to New York Fashion Week and other art, fashion and lifestyle event franchises. Endeavor has been a publicly traded stock since April 2021. Through some deft financial choreography, it controls the management of TKO through its 51% ownership stake in the new company. The remaining 49% of TKO shares were distributed to existing WWE shareholders in the transaction that closed Sept. 12.
While the brawlers and maulers are now under the same corporate roof, UFC and WWE will continue to operate separately. There will be no blending of UFC’s cage fights and WWE’s highly scripted bouts. However, Shapiro sees no end to the growth opportunities that lie ahead for TKO and Endeavor with the UFC and WWE brands.
“These are highly engaged, global fan bases who are young, diverse and incredibly passionate,” Shapiro says of the UFC and WWE demographics. “They’re seeking sports, entertainment, music, live events and premium experiences — all of which we specialize in.”
TKO and Endeavor’s fortunes will be closely tied. Endeavor will consolidate TKO’s earnings on its balance sheet because of its majority ownership stake. “From a financial engineering perspective, this helps Endeavor,” says David Joyce, media analyst for Seaport Research Partners.
Emanuel is taking a characteristically giant swing by launching TKO as a separately traded public entity at the most turbulent moment in the history of sports TV. He’s gambling that rights fees for unique sports properties such as UFC and WWE will only rise in the coming years, and the first big test is around the corner. Emanuel and Shapiro are tasked with negotiating new U.S. TV rights deals for UFC and WWE expire. UFC’s pact with ESPN is up in 2025; WWE’s TV deals with NBCUniversal and Fox are up in October 2024 while its digital rights pact with Peacock expires in early 2026.
The pair have sold TKO to Wall Street on the promise of realizing significant gains, particularly for UFC, over the financial terms of each organization’s previous TV contracts. Negotiating those deals at a time when media earnings are in the tank will require a feat of dealmaking prowess. Wall Street’s top media analysts are cheering them on.
“Endeavor remains our top pick across [media and entertainment], given its portfolio of assets across sports and live events and its industry-leading talent agency business,” Benjamin Swinburne, Morgan Stanley’s top media analyst, wrote in a research note last month. “We remain bullish on the unique value of sports, including the UFC and WWE, which we expect will translate into strong [earnings] growth for Endeavor.”
The timing and terms of the WWE deal are sweet indeed for Endeavor. In some respects, the circumstances echo the coup Emanuel pulled off in 2009 when his smaller hotshot talent agency swallowed up the once-mighty William Morris Agency to form William Morris Endeavor. The fact that WWE has a big TV rights renewal coming up in about a year is reminiscent of the dynamic that existed in 2016 when Endeavor acquired UFC and then struck a lucrative, five-year linear and pay-per-view pact with ESPN.
Roman Reigns during the 2016 WWE Live India Tour.
AFP via Getty Images
“This is a once-in-a-lifetime opportunity to bring together two leading pure-play sports and entertainment companies that operate in the most attractive parts of the media ecosystem,” Emanuel told investors about the UFC-WWE pact after the initial sale agreement was inked in early April.
No doubt, Endeavor is heading into the media Thunderdome. The fists that fly in WWE’s rings and UFC’s fighting cages are nothing compared with the turmoil in the pay TV sector. For evidence, look no further than the recent 12-day standoff between the Walt Disney Co. and Charter Spectrum over contract terms for ESPN and other channels. Despite the current climate, astute observers think Endeavor has the fighters to pull it off.
Jessica Reif Ehrlich, the influential BofA Securities media analyst, shares Swinburne’s enthusiasm for the creation of TKO. “While many investors are concerned the challenges within the linear ecosystem may inhibit UFC’s ability to capture a healthy increase in their upcoming renewal with ESPN, we still remain bullish because of its attractive demographics, the engaged fan base and year-round content,” Reif Ehrlich wrote. “The UFC provides a unique, complementary audience when compared to ESPN’s traditional sports portfolio (e.g. football, baseball, basketball) and therefore earns an attractive return per dollar of content spent vs. other sports rights.”
The biggest challenge for sports on TV in the near term will be adjusting to the new economics of pay TV. Sports has long been shielded from the pressures of economic downturns and network cost cutting because it has been so profitable. But the same factors that have fueled Hollywood’s ongoing writers and actors strikes are in play when it comes to sports.
The slow but steady decline of the linear cable TV business — cord cutting — is finally taking its toll on ESPN and other networks heavily invested in sports. There’s simply less profit to go around amid the shift in a marketplace where consumers now pay $5 to $25 a month for an individual streaming service, compared with $100 to $200 a month (or more) for a bundle of channels delivered via cable. The largest media conglomerates have incurred steep losses in recent years as they’ve invested in building up subscription streaming platforms (Disney+, Max, Paramount+, et al.).
ESPN and other sports channels were a cornerstone of the cable bundle because of the rabid fandom around various professional leagues and teams. Those channels traditionally commanded the highest fees from cable operators because live sports is often a must-have item for those consumers who spend the most on pay TV services. To wit, note how quickly college football fans ran to social media to blast Charter for the blackout of ESPN on Aug. 31, just as college football season began.
On the other hand, cable customers who never watched ESPN or Fox Sports still had to shoulder the high cost of those channels. Consumers had to put up with it because there were no other options, until streaming came to fruition.
The great un-bundling from cable to streaming has taken an even bigger toll on regional sports networks. Those regional services that carry hometown teams also historically commanded high fees that were passed on to all consumers. Now, with subscriber rates declining every quarter, an increasing number of cable operators say they are ready to cut the channels business entirely and focus on providing the broadband and Wi-Fi services that consumers need in order to watch their favorite streamers.
All of this means less revenue flowing into sports outlets. And lower cable subscription rates translate to smaller audiences overall, which in turn leads to lower advertising revenue. The industry hopes this melting ice cube dynamic can be stemmed by offering sports channels for purchase as stand-alone streaming options.
After a knockout at a UFC event in Las Vegas in July.
Zuffa LLC via Getty Images
In this rocky transitional period, however, the struggle is playing out in public. In one high-profile example, Major League Baseball had to take over management of the Bally Sports San Diego RSN in May because the channel defaulted on its rights payments to the San Diego Padres. If MLB hadn’t stepped in, the Padres wouldn’t have had a local TV outlet for most of their games this season, depriving the team of revenue that it counted on to cover its payroll. The circumstances around the Bally Sports flameout were exacerbated by heavy debt taken on by its parent company, Diamond Sports. But the domino effect is being felt across the industry.
“We have only done business in an environment where the sports television economy is growing,” Michael Mulvihill, president of insights and analytics for Fox Corp., said in July at the Variety + Sportico Sports and Entertainment Summit. “That era of subsidization where we all benefit from the fact that consumers are paying a monthly bill and in many cases not watching our networks — that era is ending.”
What’s more, the business of sports has also reached a generational crossroads with millennials and Gen Z. Younger sports fans are often more likely to follow individual players than teams, thanks to the influence of social media and online fantasy sports leagues. Young adults are among the consumers least likely to sign up for high-priced cable services where live game coverage is most plentiful. That all adds up to a generation of sports fans who are growing up watching far more highlights and clips of their favorite players online rather than sitting in front of a TV to take in a full game.
Meanwhile, older sports buffs who have come to think of access to ESPN as a birthright are frustrated by all the changes across the TV dial. Netflix has famously vowed to stay out of the sports business because of the challenge of monetizing sky-high rights fees on its platform, which is built for on-demand viewing (although the streamer is increasingly experimenting with other forms of live programming). Amazon and Apple have tiptoed into sports with limited rights deals: “Thursday Night Football” for Amazon, a cluster of Major League Baseball games for Apple.
Even for avid sports fans, the landscape can be confusing. Bob Costas, the veteran sportscaster and commentator, senses a wariness among sports fans about the new world order. “Think about New York sport fans. Half the time they don’t know where the Yankee game is going to be on any given night,” Costas says. “It could be on channel 11. It could be on Apple. Or it could be on ESPN. The average fan is saying, ‘What the heck?’”
Teams and leagues also bear some of the blame for hiking the price of tickets to stadiums, arenas and ballparks beyond the reach of some consumers. “The more casual fan is frustrated because they say, ‘I can’t afford to go to the game — at least not often. And now I can’t even find where the heck my team is on TV,’” Costas says. “The general impression is that they’re being milked at every turn for every last nickel.”
UFC and WWE are a breed apart from the Big Four professional sports leagues — NFL, NBA, NHL and MLB. UFC fights and the staged bouts in WWE’s “squared circle” ring run year-round, in contrast to the seasonal format of football, basketball, baseball and hockey. The consistency and the appeal to young men is a big draw for networks.
The last time UFC and WWE were in the market with big TV-rights packages, both caught lucky breaks in hitting just as studios and streamers were in a mad scramble to acquire content for new programming ventures. UFC fights and pay-per-view events became a pillar of ESPN and its streaming sibling ESPN+ under a rich contract. And WWE was up for grabs as NBCUniversal needed to stock up Peacock and as the Fox broadcast network began a new chapter after the Murdochs sold most of 21st Century Fox to Disney in 2019.
Despite the merger, WWE and UFC will remain largely autonomous organizations. But students of sports trends will keep a close watch to see how the under-one-roof association plays out with fans.
“For UFC, this is a chance to reach a different audience,” says Patrick Rishe, director of the sports business program at Washington University’s Olin Business School. “It will be interesting to see if they can bring WWE fans on board, and, likewise, if they are going to be able to turn some of the UFC loyalists into WWE consumers.”
Endeavor was able to pounce on WWE because the Stamford, Conn.-based wrestling giant was on its heels at the end of last year. WWE’s longtime leader, 78-year-old Vince McMahon, has been under law enforcement and regulatory scrutiny since July 2022, when The Wall Street Journal disclosed that he had paid out more than $12 million in settlements related to sexual misconduct claims over 16 years.
That sparked probes of WWE’s handling of the situation and questions about the disclosure requirements to shareholders around the payments.
Last year, amid the closer look at WWE’s financials, the company was forced to revise some of its past earnings disclosures to account for $19.6 million in payments made from his personal funds made by McMahon over the years. McMahon has denied the allegations against him. “Throughout this experience, I have always denied any intentional wrongdoing and continue to do so,” he said in a statement released last month.
Beyond McMahon’s personal travails, WWE has had management difficulties since early 2020. The company’s stock cratered by double digits after McMahon fired his day-to-day leaders, co-presidents George Barrios and Michelle Wilson. McMahon stepped down in July 2022 after the Journal exposé, and was succeeded by his daughter, longtime WWE executive Stephanie McMahon, and former CAA agent Nick Khan as co-CEOs. But in January, Vince surprised Wall Street and WWE watchers by using his clout as majority shareholder to reinstate himself as executive chairman. A week later, Stephanie left the company, and her father hung a “For Sale” sign on its door. Endeavor was seen from the start as the likeliest buyer. For one thing, Emanuel and Co. were already familiar with WWE’s business because the company has been represented for years by WME.
The UFC-WWE transaction is poised to create a waterfall of benefits for Endeavor. Endeavor and WWE will both contribute $75 million in equity to set up the new company with $150 million in cash on the books. But as part of the transaction, Endeavor sweeps up the cash leftover on UFC’s and WWE’s books and it gets to offload to TKO some $2.7 billion in debt — or more than half of Endeavor’s existing $4.5 billion in leverage. That heavy load of red ink has been a handicap for Endeavor, which has been valued by investors at a market cap of about $10 billion based on its stock price over the past year.
McMahon, meanwhile, made more than $110 million from the cash distribution to WWE shareholders following the closing of the deal. Going forward, McMahon owns 16.6% of TKO. Khan oversees day-to-day operations and has become a respected leader since joining WWE in 2020.
As the major shareholder of TKO, Endeavor stands to reap the rewards of strong, free cash flow generated by UFC and WWE as operating businesses. Both companies make more than two-thirds of their annual revenue through TV-rights deals that are contractually guaranteed, making it easy to project out earnings. About 10% of revenue at each shop comes from an extensive live-event touring schedule. Those sources combined ensure that TKO will have steady cash flow coming in the door, which Endeavor can tap to pay down more debt or buy back its own shares to buoy the price.
To that end, the UFC-WWE union comes at a fortuitous time for Endeavor for yet another reason: CAA, archrival to WME, sold a majority stake in the company to French entrepreneur François-Henri Pinault that valued the agency at $7 billion in total. CAA’s high valuation helps its competitor make the case that Endeavor’s assets, other than UFC, have been undervalued as reflected in the company’s stock price, starting with talent agency WME. In the past year, Endeavor shares have ranged from a low of $18.58 to a high of $26.26; since Sept. 12, shares have hovered in the $21 to $22 range. Meanwhile, TKO shares held steady in the first few days of trading at $100 to $105, close to the average for WWE shares since the initial TKO deal agreement was reached in April.
In addition to landing big increases in upcoming TV-rights negotiations, Endeavor has vowed to Wall Streeters that Endeavor and UFC will use their expertise and muscle to boost WWE’s advertising sales, including its social media monetization. UFC has been adept at nurturing young stars — bankable fighters of late include Sean O’Malley, Sean Strickland and Zhang Weili — and catering to fan interest in them through social media and personal appearances. WWE has weathered the ups and downs, groin kicks and nose tweaks of the grappling biz since the company was founded by Vince McMahon’s grandfather, former promoter Jess McMahon, in 1953.
With the merger, there will be cuts. The companies do a lot of the same things, so they have a lot of overlapping operations. Both run athletic training facilities, both tour the country with live events that generate ticket and merchandise sales and both court big-dollar advertising and sponsorship deals. Endeavor estimates the combination of the businesses will generate $50 million to $100 million in cost savings.
Wall Street has pinned high expectations on TKO, projecting that it will yield a compound annual growth rate of 10% to 15% over the next four years. That’s a big ask from a media-centered company at a time when earnings across the industry are struggling.
“In the broader media landscape, there is a dearth of growth opportunities out there right now,” says Kutgun Maral, an Evercore ISI research analyst who follows Endeavor. “TKO makes it a lot easier for investors to decide where to put their money.”
Todd Spangler and Brian Steinberg contributed to this story.
One of the beautiful things about the John Wickmovies is that they seem like a perfectly balanced tightrope walk: They always carefully avoid the extremes when it comes to gun violence, regular violence, the complicated mythology of their universe, the backstory of John Wick himself, and what the world looks like beyond this global community of assassins. One of the miracles of this franchise—in a world where Disney+ is squeezing everything it can out of Marvel and Star Wars while Paramount+ does something similar with Star Trek—is that nobody has come along to disrupt that careful balance with endless tie-ins and spinoffs and “expanded universe” stories.
Keanu wonders if “John Wick” has gone too far
Until now! Len Wiseman (of all people) is working with Ana de Armas for Ballerina, a spin-off from John Wick: Chapter 3—Parabellum about the, yes, ballerina assassins that briefly pop up in that movie. But before that hits theaters, we have The Continental: From The World Of John Wick (which premieres September 22 on Peacock), a three-part miniseries about how Winston Scott—played in the movies by Ian McShane—came to find himself the proprietor of the eponymous safe haven for killers. Even more than Ballerina, The Continental seems like the thing that poses the most risk of disrupting that perfect balance, since it’s about a few canon John Wick characters and is all about a canon John Wick location, but without any of the core John Wick creators involved beyond the producer level (and with no mention of Keanu Reeves, even as a producer). Also, perhaps more important than anything, Mel Gibson plays one of the main characters.
On paper, this sounds like a mess. By all accounts it should be a mess. John Wick fans would be forgiven for hoping they can write it off, sight unseen, if only to maintain the purity of the original films. If only to avoid having to avoid looking at Mel Gibson. If only to avoid having the knowledge that the otherwise impeccably cool John Wick series now contains Mel Gibson.
But The Continental isn’t a mess. It’s fine, if anything, and for the most part—one notable casting decision aside—it doesn’t really screw up the John Wick canon in any way. It doesn’t ever really feel like the movies, but that seems like a conscious decision on the part of the show’s creators (Greg Coolidge, Kirk Ward, and Shawn Simmons) who have specifically set this in an almost cartoonishly grimy version of ’70s New York rather than the slick modern version of the city that priced out all of the mom-and-pop karate dojos and grizzled, muscle car-driving detectives cheating on their wives. (These are things in the show.)
At the same time, The Continental assumes you are deeply familiar with the John Wick mythology, to the point where it’s mostly never explained just who is and is not aware of what the High Table is, what the rules of The Continental are, and what the heck an “Adjudicator” does. Granted, the movies are pretty tight-lipped with answers like that (ask a Wick fan to explain the difference between an Adjudicator and a Harbinger without saying “one of them is Mr. Krabs”), but they also make it fairly clear who is and is not already aware of these things. (If you are trying to kill John Wick, you know. If you are in the background, blissfully unaware of the carnage unfolding around you as people try to kill John Wick, you do not.)
The unclarity extends to pretty much the whole central cast of The Continental, including Colin Woodell’s young Winston, who returns to New York after getting rich conning people in London because his brother, Frankie, has stolen something very valuable from local crime boss—and hotel impresario—Cormac (played by … heavy sigh … Mel Gibson). Winston worked for Cormac as a kid, but it’s never super clear just how involved he is in the world of killers who are paid in gold coins and use gold coins to pay for everything, and other quirks of the Wick universe, until the point where it would be impossible for him to be anything but an expert.
Mishel Prada as KD Photo: Katalin Vermes/Starz Entertainment
It’s annoying that questions like that hang over the miniseries, because Woodell is good in the role—both at emulating McShane’s performance and at doing his own thing. He doesn’t pull it off as well as Keanu Reeves, but he does carry a bit of Wick-esque world weariness and general disinterest in the wacky shenanigans happening around him, which is the right vibe for this thing.
One character who manages to sidestep all of this is Ayomide Adegun’s Charon, a young version of the character Lance Reddick played in the movies, where he’s the ultimate friend and ally of McShane’s Winston. Here, he works as a personal assistant for Gibson’s Cormac, excusing and hiding his various deranged behaviors in hopes of someday earning enough money to bring his father to New York. He brings some depth and charm to the exceedingly restrained and professional Charon, and we even get a sweet little glimpse of what Charon’s love life would be like if he allowed himself any sort of joy outside of work.
And then—grumble grumble—there’s Gibson. To be clear: This show, and all shows, would be better without him. There’s nothing he brings to this that anyone other than Mel Gibson would not do better, if only by not being Mel Gibson. But also he’s unfortunately well-cast and seems to be having a lot of fun in the role of a maniac boss with some kind of vague Catholic streak and a god complex, if you can imagine Mel Gibson being well-suited to that. It’s a bummer, honestly, and knowing that he’s enjoying it makes it that much more difficult to enjoy as a viewer.
The Continental: From the World of John Wick | Official Trailer | Peacock Original
Which is a shame, because there are some interesting choices here—like the near-constant needle drops of hit songs from the era, nearly all of which are diegetic, which doesn’t impact the show at all (nobody ever says “hey, turn down ‘Barracuda’ by Heart”), but it is neat that someone put in the effort to do that. Also, while a lot of what would be enormously expensive sequences take somewhat distracting shortcuts (a car chase is edited quicker than a Cocomelon episode, and one big shootout takes place entirely in the dark), there are a handful of clever or well-staged fight scenes (like one that takes place almost entirely on security-camera footage). Again, nothing on par with, say, John Wick fighting up the steps of the Sacré-Coeur in Paris, but they’re serviceable.
That, ultimately, is the faintest praise you can damn The Continental with: It’s serviceable. Even with Mel Gibson involved, it’s not bad enough to hurt the John Wick franchise, but it’s also not exciting enough to justify becoming a key part of the canon. If they make a Chapter 5 and McShane’s Winston says something that directly contradicts the events of this show, it’ll be fine. In a way, it’s really not too different from the weaker parts of what all those other streamers are doing with their flagship film franchises. It’s there for the people who care enough to check it out, but it’s not going to get in your way if you don’t.
The Continental: From The World Of John Wick premieres September 22 on Peacock
Fox’s Tubi and Dan Abrams’ Law&Crime have teamed up on a true-crime series, “Behind the Crime.” The limited series will launch Sept. 20 with an episode about the 2019 murder of rapper Nipsey Hussle.
Per the show’s logline, “Behind the Crime” “dives deep into the inner workings of the justice system with gripping cases that give viewers unfiltered access with real case footage.” Each installment “examines the crime from the investigation, to the trial, and ultimately, the verdict as told from the intimate perspective of those closest to the case– the legal teams, jurors, and law enforcement, as well as the family and friends of the victims and the defendants.”
Following the Sept. 20 premiere, “Behind the Crime: The Nipsey Hussle Murder,” which follows “the murder trial, story, and case of rap icon and street legend Nipsey Hussle” and is told using accounts from the people involved and “real footage from the tragic event,” later episodes include: “Killer Ex-Boyfriend,” which centers on the case of Wisconsin father Zachariah Anderson, who was convicted of murdering his ex-lover’s new partner, and “Self Defense or Slaughter,” which follows NFL player Travis Rudolph, who claimed self defense under Florida’s Stand Your Ground Law after a double shooting.
“Tubi’s ‘Behind the Crime’ provides our true crime fandom with unique stories of the highest stakes told through real and compelling footage,” Tubi chief content officer Adam Lewinson said. “Dan Abrams and his Law&Crime team bring their singular expertise to this series which builds upon our deep catalog of true crime and unscripted content currently available on the platform.”
Law&Crime president Rachel Stockman added: “We are excited to partner with Tubi on this incredible series which will take viewers right inside the heart of these emotional, gripping true crime stories.”
“Behind the Crime” is executive produced by Abrams, Stockman and Law&Crime’s executive vice president, scripted and unscripted development Melody Shafir, and Stacey Young, who serves as showrunner. Ron Marans is a producer.
A McGill University professor has found some eyebrow-raising numbers regarding short-term rentals in B.C.
David Wachsmuth conducted a study dissecting the influence of commercial short-term rental growth on B.C. housing availability and costs.
“The report underscores the need for the Province of B.C. to implement a province-wide short-term rental registry and platform accountability measures to save tenants billions in rent and address housing supply, attainability, and affordability,” the study said.
Vancouver’s short term rental problem persists
The study found that more than 16,000 homes shifted from residential to dedicated commercial (investor-owned) short-term rental in 2022, signifying a 19.1 per cent decline in housing availability across the province.
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The study says the rapid surge of short-term rentals in 2022 contributed to a 28 per cent rise in rent costs.
It is estimated that B.C. tenants bore an extra $2 billion in rent costs between 2016 and 2021 due to the vast expansion of short-term rentals.
“Across Canada, our existing stock of affordable housing is disappearing at an alarming rate. New units being built do not meet the affordability levels that Canadians need, and for every new unit built, at least five are being lost to excessive rent increases, renovation, redevelopment, and conversion to other uses like short-term rentals,” said Annie Hodgins, the Canadian Centre for Housing Rights’ executive director.
“This report demonstrates the extent to which commercial short-term rentals are exacerbating Canada’s affordability crisis by driving up rents and taking sorely needed units away from renter households.
“Governments in British Columbia and across Canada must work together to implement regulations to stabilize rent increases and mitigate the impact of commercial short-term rentals on the housing affordability crisis.”
Airbnb: Are short-term rentals making housing less affordable in Canada?
In Vancouver, the city has made moves recently to try and address short-term rental issues by increasing fees.
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“I think what we are hearing, loud and clear, is frustration with unlicensed or illegal operations of short-term rentals within the city,” Vancouver city Coun. Sarah Kirby-Yung said.
It will now cost $1,000 annually to license a short-term rental in Vancouver.
City staff had proposed to bring the fee up to $450, but during last week’s meeting, Coun. Lenny Zhou proposed an amendment to increase the fee.
“We can send a very clear signal to people that illegal short-term rentals are not acceptable in the city of Vancouver,” Zhou told Global News.
Vancouver’s current short-term rental fee of $109 falls well below those of other B.C. cities, such as Squamish at $500 and Kelowna at $345.
Before the year’s end, B.C. Housing Minister Ravi Kahlon said he is planning to introduce legislation to address short-term rental concerns.
Liam Payne’s girlfriend, Kate Cassidy, shared a promising update about the singer’s health after he was hospitalized for a “serious” kidney infection.
“I’ve gotten a lot of comments about Liam, asking how he’s doing,” Cassidy, 24, said in a TikTok video uploaded on Tuesday, September 19. “I just wanted to let everybody know that he’s doing so much better. He’s out of the hospital and he’s in good hands.”
Last month, Payne, 29, announced that he was forced to postpone his upcoming South American tour — which was set to start on September 1 — because of a health issue.
“Over the past week I’ve been in hospital with a serious kidney infection, it’s something I wouldn’t wish on anyone, and doctor’s orders are that I now need to rest and recover,” the former One Direction member shared in a social media statement on August 25. “I was beyond excited to come play for you guys. To all of you who have bought tickets: I’m so sorry.”
Payne told hopeful concertgoers that he was “working to reschedule the tour” and had plans to refund their tickets in the meantime.
“Thanks as always for the love and support, and look forward to seeing you soon,” he concluded at the time.
Weeks after his initial hospital stay, multiple outlets reported that Payne had been hospitalized a second time. Rolling Stone confirmed on September 13 that Payne was “undergoing medical treatment at a hospital in Italy.”
Liam PayneDavid M. Benett/Dave Benett/Getty Images
Payne previously revealed that he was born “three weeks early,” which resulted in various health issues — including with his kidneys.
“When I was born I was effectively dead,” he wrote in the 2011 book One Direction: Dare to Dream. “The doctors couldn’t get any reaction from me, so I had to be brought round and although it seemed like I was OK, there were underlying problems.”
While he still has both of his kidneys, he shared in the memoir that “one doesn’t work.”
One Direction may have hit pause on their music together, but band members Harry Styles, Niall Horan, Liam Payne, Louis Tomlinson and Zayn Malik have continued to hit play when it comes to romance. Malik’s relationship with fellow English singer Perrie Edwards was a fan-favorite as the couple started dating in 2011 and got engaged […]
“I have to be careful not to drink too much, even water, and I have to keep myself as healthy as possible,” Payne added.
However, in 2012, Payne told his social media followers that his kidney had been “fixed form [sic] when I was a baby,” adding, “So, now I have two.”
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Aside from his health issues, Payne has been candid with fans about his sobriety struggles over the years. In July, the musician revealed that he was six months sober after spending 100 days at a rehab facility in Louisiana.
“I just needed to take a little bit of time out for myself actually because I kind of became somebody who I didn’t really recognize anymore. And I’m sure you guys didn’t either,” Payne shared in a YouTube video at the time. “I was in bad shape up until that point and I was really happy more than anything after I arrived to kind of put a stopper to life and work. … Ever since then, I’ve just been trying to learn to get to know this new guy.”
Clorox, the company behind many wel-known household cleaning products, suffered a cyberattack last month which caused serious disruption in its production chain, the company has confirmed.
In a filing it made with the US Securities and Exchange Commission on August 14, Clorox said it experienced, “unauthorized activity” on some of its endpoints. To address the issue, the company was forced to turn some of its systems offline.
“To the extent possible, and in line with its business continuity plans, Clorox has implemented workarounds for certain offline operations in order to continue servicing its customers,” the document added. “However, the incident has caused and is expected to continue to cause disruption to parts of the company’s business operations.”
Was it ransomware?
As far as facts go, that’s all Clorox has given us. It added that it expects the attack to leave a dent in its fiscal first quarter, but it’s not sure exactly how much. It also can’t know for certain what this attack will mean in the mid-term, or long term. It expects automated order processing to return to normal during the week, but it can’t definitely say when it will able to get back to full production as it was before the attack.
Besides taking some systems offline, Clorox did what all companies do in this situation – it hired a third-party cybersecurity firm to help with the investigation and the recovery of any compromised assets.
If it looks like a duck, the old saying goes, it’s probably a duck. While Clorox did not specifically describe this incident as a ransomware attack, the fact that it was forced to shut some systems down and has trouble restoring operations sounds a lot like a ransomware attack. Still, no ransomware groups have claimed responsibility for the attack, nor has any data leaked on the dark web, as is usually the case.
The Walt Disney Co. hosted Wall Street representatives at Walt Disney World Resort in Orlando early this week for the Hollywood conglomerate’s 2023 investor summit focused on the Disney Parks, Experiences and Products (DPEP) unit, led by its theme parks.
At a time when much debate has centered on Disney’s future ownership and plans for streamer Hulu and the potential sale of ABC and linear TV assets, the investor gathering explored such topics as the DPEP segment’s post-COVID pandemic’s growth and profitability outlook, visitor and spending trends, new theme park attractions and investment in the firm’s cruise ships business. Disney also touted a major expansion of its DPEP business with a vow to invest $60 billion over the next 10 years to turbocharge growth in the lucrative unit, nearly doubling its spending over the prior 10-year period.
“It’s a big investment, but it’s also already a big business,” TD Cowen analyst Doug Creutz summarized his takeaways on the initiative in a report. He has a “market perform” rating and $94 price target on Disney’s stock.
“Disney management expressed a strong belief that DPEP can continue to be a major growth driver for Disney in the future,” the expert wrote. “Their optimism is reasonably based on (1) high historical return on investments (ROIs) for the segment, (2) a (somewhat surprising to us) amount of still undeveloped land at their existing parks, and (3) opportunities to meaningfully expand their cruise and vacation club ‘Signature Experiences’.”
Creutz estimated that the planned investment “could drive mid- to high-single-digit percentage annual earnings before interest and taxes (EBIT) growth at DPEP over the next 10 years, assuming future ROIs are comparable to levels seen over the past 10-15 years.”
He also highlighted upcoming DPEP projects, including the planned opening of the “World of Frozen” at Disney’s Hong Kong theme park in November, “Zootopia Land” in Shanghai also later this year, “Fantasy Springs” in Tokyo in 2024, funded by Tokyo partner Oriental Land Company, a “Frozen Land” at the Paris park, for which a launch date is yet to be decided), three new cruise ships launching 2024-2026, a new private island cruise port in the Bahamas launching in 2024, and “1,000 new Vacation Club ‘keys’ opening over the next five years,” which Creutz noted means a 15 percent capacity expansion).
“Beyond the projects delineated above, management expects to be flexible in allocating resources, targeting capital expenditures to projects that offer the highest expected returns,” the TD Cowen analyst noted about the financial impact. “Management indicated that the ramp in capital expenditures would be moderate over the next few years (versus our estimate of $3 billion DPEP capital expenditures in fiscal year 2023), but rising over time.”
Bank of America analyst Jessica Reif Ehrlich gave her report the title “Investing in the magic,” analyzing Disney CEO Bob Iger’s work this way: “After spending the past 11 months restructuring Disney and re-evaluating its asset mix, we believe his four key priorities include: 1) direct-to-consumer (DTC) — and driving an improvement in profitability, 2) managing the transition in linear while recognizing the disruption in the business, 3) revitalizing the creative engine that is at the heart of the Disney brand and 4) turbocharging growth in theme parks.”
She doesn’t see the magic having an impact overnight though. “We expect progress on these priorities could take several quarters, if not years, to materialize (e.g. improving film is a longer-term endeavor) but given Bob Iger’s track record and stature in the media industry, we continue to believe his steady leadership bodes well for the future performance of Disney.”
While reiterating her “buy” rating on Disney shares, Reif Ehrlich lowered her price target by $25 to $110, noting that this was “in line with Disney’s historical premium to the S&P500 and reflects the transition underway for Disney and the media industry more broadly.” As near-term catalysts, she identified “additional updates on the strategic outlook for Disney and continued robust theme park demand.”
Speaking of theme parks, the Bank of America expert’s takeaways from Disney’s DPEP investor event were as follows. “The recovery in Disney theme parks post-COVID has been astounding as both revenue and operating income are well ahead of pre-pandemic levels. However, the recent bounceback spotlights what had already been strong financial performance in theme parks over the past decade. … However, there appears to be ample runway to continue to invest and grow the business.”
One data point Reif Ehrlich highlighted: “There is still a 700 million addressable market (as identified by income and Disney affinity), so for every one park guest there are 10-plus consumers with a Disney affinity who do not visit the parks. As a result, Disney will lean into this opportunity and invest $60 billion into theme parks and experiences over the next decade, funded by existing free cash flow.” The analyst predicted a financial payoff, writing: “Given the return profile of these businesses, we believe the increased investments are prudent to drive sustained longer-term growth.”
Wells Fargo analyst Steven Cahall, who has an “overweight” rating and $110 stock price target on Disney, making it a “signature pick” for his firm, wrote that he also liked what he heard. “Disney’s investor summit showed the company’s bullishness on parks/cruises, which remain among the best and most unique assets in media,” he highlighted in his report. “However, Disney is a complex story, and we think direct-to-consumer profitability remains the real key to unlocking future value.”
The expert also pointed out that investors had hoped for more guidance. “While Disney is bullish on the parks opportunity, investors left the event a bit frustrated on what it all means for returns,” Cahall suggested. “The spending guidance is out there, but it’s unclear if parks earnings growth should accelerate alongside spending growth. If earnings stay unchanged, then higher capex = lower Street free cash flow.” That said, the analyst also noted that management “did indicate confidence that parks will generate ‘strong free cash flow,’ the capital expenditure build is slow/discretionary, and the balance sheet is healthy.”
But his bullishness on Disney is all about streaming and content. “We still believe the real reason to own Disney here is that content is under-monetized on direct-to-consumer (DTC) given the valuable library and relatively low average revenue per user on Disney+ and Hulu,” Cahall wrote. “We think DTC will be profitable earlier and more strongly than consensus. Bob Iger discussed a renewed focus on IP improvement, which underlies the terminal value of Disney reflected in parks and DTC — the vast majority of the stock’s value.”
Morgan Stanley analyst Benjamin Swinburne has an “overweight” rating and $105 stock price target on Disney, meaning upside potential of about 30 percent.
Discussing the DPEP investor summit in a report, he addressed the $60 billion capital spending plan over the next decade. “This is expected to be self-funded by the parks business and aimed at both expanding capacity at its parks and resorts globally and investing in technology to help improve returns,” Swinburne emphasized. “The capital expenditure will likely scale up gradually over time, leaving no material impact to free cash flow expectations in ’23 and ’24. For perspective, after layering in this higher capital spending outlook, we forecast DPEP capital intensity of 13-15 percent over the next decade, similar to the prior decade (excluding the pandemic years).”
Noting that “the Parks & Experiences businesses account for 75 percent of fiscal year 2023 segment operating income at Disney, he called them “uniquely attractive in long-term growth potential, scale, and returns, warranting a low double-digit earnings before interest, taxes, depreciation and amortization (EBITDA) multiple.” Added Swinburne: “By implication, at current Disney share prices, Disney’s media (DMED) assets in aggregate are valued at roughly $50 billion, less than one time sales, or 30 percent of Netflix’s current enterprise value.”
The Morgan Stanley expert concluded by highlighting that his $105 Disney stock price target means “a premium to media peers due to its parks business and media monetization growth opportunity.”
Guggenheim analyst Michael Morris had already written a Sept. 15 investor event preview report, entitled: “Cruisin’ the Parks: Digging into Domestic, International, and New Attraction Details.” “Recent data suggests slower activity and continued challenging comparisons domestically and sequentially slower park app downloads internationally,” he had mentioned. “We expect positive commentary on longer-term trends supported by cruise investment, possible domestic footprint expansion, and new international attractions.”
In his discussion of the entertainment giant’s cruise ship business, Morris noted that Disney plans to launch two additional cruise ships in its fiscal year 2025, with a third new ship set to debut in fiscal year 2026. “With a full year of operation in fiscal year 2023, we estimate that cruise lines will comprise about 6.6 percent of total parks revenue, growing to 8.0 percent contribution in fiscal year 2025 ($2.6 billion of $32.5 billion total) and around 9.4 percent in fiscal year 2026 ($3.3 billion),” he forecast.
In his post-event report on Wednesday, Morris summarized key takeaways from management commentary and maintained his “buy” rating and $125 stock price target on Disney. “CEO Bob Iger highlighted a strategic shift from structure repair to growth,” he highlighted. “There are 1,000 acres of available land across all Disney physical properties — equivalent to seven Disneyland parks,” with only 30 percent of Walt Disney World land currently developed.
“Leadership also highlighted more optimally distributed attendance post-COVID as a tool for better managing costs,” the Guggenheim analyst noted, mentioning that management spoke about the opportunity to increase Disneyland California theme park capacity by 50 percent, among other things. “Management will adjust attendance caps to increase parks monetization opportunity.” For example, capacity caps increased 20 percent in the past two years at Walt Disney World, he cited a datapoint shared by Disney’s management team.
Shilpa Shetty and Raj Kundra were seen shaking a leg with friends and family at their Ganpati visarjan.
Shilpa Shetty has been celebrating the tradition of Ganesh Chaturthi for several years now. Each year, she welcomes Lord Ganpati into her home. This year, she continued this ritual, and she was spotted at an idol store with her husband, Raj Kundra and later posted photos from the puja at her home. The actress, who is gearing up for the release of her upcoming film Sukhee, looked stunning in traditional attire .On Tuesday, the actress took to Instagram to share a photo from the celebrations at home. Going by the photo, it looked like the theme was ivory and gold. Shilpa looked gorgeous in an ivory and gold dhoti sari accessorised with traditional jewellery, while Raj Kundra opted for Kurta in the same colour palatte. Her children – Viaan Raj Kundra and Samisha Shetty Kundra – too, wore ivory and gold outfits.
At the visarjan on Wednesday, Shilpa opted for a pink sari draped in a traditional Maharashtrian way. she accessorised the look with yellow flowers in her bun and wore pink and yellow bangles, Husband Raj Kundra was seen yet again in an LED mask that read Sukhee, Shilpa’s next release. He wore a pink kurta.
Shilpa and Raj performed an aarti as they prepared to bid adieu to Lord Ganpati this year. Shilpa also shook a leg with her family and friends and also the paps. Shilpa’s Sukhee co-star, actor Chaitannya Choudhry, was also seen shaking a leg with her.
Shilpa Shetty is a devout follower and strong believer in Lord Ganpati, and she frequently visits the Siddhivinayak temple in Mumbai, particularly on Tuesdays. In fact, several years ago, it was immediately after she left the temple following her prayers that she made the announcement about her participation in the UK Big Brother, a decision that ultimately reshaped the trajectory of her life and career.
Shreyanka Mazumdar is Chief Sub Editor of the entertainment team at News18. With an unbridled passion for all things Bollywood, music and fashion, she…Read More
Tiffany Anders began picking songs for movies at age 15, when she advised her mom, filmmaker Allison Anders, to use a track by indie rockers Dinosaur Jr. on her 1992 breakout feature, “Gas Food Lodging.” Young Anders then pursued a career as a singer-songwriter, and after releasing an album produced by British provocateur PJ Harvey, she officially segued into music supervision for TV and film. More recently, she has emerged as a go-to song picker for edgy TV comedies, including “PEN15,” “You’re the Worst” and “Beef.” But until a couple years ago, Anders had never curated needle drops for a Native American story.
Then came “Reservation Dogs.”
The critically acclaimed FX on Hulu dramedy follows four teenage misfits in rural Oklahoma as they struggle, often hilariously, to reckon with the untimely death of their friend, their heritage and navigate uncertain futures. Co-creator and showrunner Sterlin Harjo enlisted Anders shortly after seeing her post about the Native American documentary “Rumble” on Instagram. “He messaged me, and we started talking,” she recalls. “Sterlin said, ‘I’ve got this show coming up, and I’d love you to be a part of it.’ So that’s where it started.”
The first season of “Reservation Dogs” kicked off in 2021 with a teen heist underscored by the Stooges’ raucous punk anthem “I Wanna Be Your Dog,” followed in later episodes with numbers by hip-hop grand masters Wu-Tang Clan, country singer Sturgill Simpson and everything in between. The common thread? “Sterlin’s first point of direction to me was, ‘Everything has got to sound DIY,’” says Anders. “I immediately knew what he meant: The music had to have heart and soul, it had to be honest, it had to be full of integrity. It can be huge, it can be old, it can be new, as long as it carried that kind of feel.”
For the third and final season of “Reservation Dogs” (it concludes Sept. 27), Anders licensed music from gifted but often obscure artists whose songs sound as if they were purpose-built for the scene at hand. Speaking from her Altadena home, Anders de-constructed Season 3’s music cues, reflecting her fondness for “loner folk dudes,” Native American surf rock and hippie-era psychedelia. This interview has been edited and condensed for clarity.
This show’s packed with songs that most people probably haven’t heard before. In Episode 2 [of Season 3], for example, Bear (D’Pharaoh Woon-A-Tai) wanders the barren Oklahoma plains, where he meets a reclusive old man named Maximus. At the end of his journey, Bear’s all alone, staring into space as this melancholy ballad plays. What’s the tune?
That’s “Early Blue” by F.J. McMahon. In my 20s, I lived in New York and got kind of obsessed with confessional, introspective records made by what I call loner folk dudes. This used record store loaned me a bootleg copy of his album “Spirit of the Lonely Juice,” which had “Early Blue” on it. I just thought the song fit the DIY vibe, for one. And two, it has this isolated, self-reflective quality that fits Bear’s moment of being on his own. He’s the lost loner guy there.
Deer Lady (Kaniehtiio Horn) in a scene from Episode 3 of the third season of “Reservation Dogs.”
(Shane Brown / FX)
Episode 3 centers on Deer Lady [Kaniehtiio Horn], and it flashes back to her days at the type of nightmarish boarding school that most Native American kids were forced to attend. You feature three pieces of moody music by Mali Obomsawin to express Deer Lady’s inner world. How did you learn about this artist?
Sterlin told me about Mali before they started shooting this season, and I was blown away. Her music is experimental, and it’s got these jazzy elements but it’s also heartfelt. Not to sound all witchy lady, but I feel like Mali’s music and [composer] Mato’s [Wayuhi] score were made to be together, but it just happened by chance.
Mali’s a Native American, right?
Yes. Sterlin went into this season very keen on using a lot of current Native American musicians.
Which brings us to a soulful track in Episode 4 by the late Native American musician Jesse Ed Davis. He was known for his guitar playing with artists like Bob Dylan and John Lennon, but here he’s singing, “I was born on the banks of the Washita River.”
One of the bonding moments for me and Sterlin is that we both love Jesse Ed Davis. We had to use him, and “Washita Love Child” was perfect for this scene. Our editor Varun Viswanath kept asking for old rock songs to kind of emulate these four characters being “the reservoir dogs,” and I was like, “Jesse Davis is our dog.” The song’s sweet, it has a groove and I really like that Jesse’s telling a story about his culture.
The “Dazed and Confused” homage in Episode 6 happens back in 1976 when the rez dog elders were just teenagers acting wild on the last day of school. It’s packed with rock tracks from that period, which must have been fun to organize.
For me, the sweet spot for rock is the ’70s, and when you dig into obscure stuff, it gets even funner and cooler. I’m one of those who can go down the [rabbit] hole forever.
From that rabbit hole, you pulled a trippy song by the short-lived Texas hippie band 13th Floor Elevators called “You’re Gonna Miss Me,” which plays while the teenagers feel LSD kicking in.
I mentioned “You’re Gonna Miss Me” for opening Season 2. We went with [Native American band] Black Belt Eagle Scout instead but we kept the song in our back pocket. Texas is close enough to Oklahoma [laughing], and the track has this Southern psychedelic rock thing — it just made sense.
Young Maximus later encounters a UFO to the tune of a spooky instrumental [“Yeti Talk to Yogi”] by 70s-era avant-garde German band Amon Düül. Why that group?
That moment had to feel other-worldly. When I first went through the script and saw the scene where he sees the UFO, I thought this would be the perfect place to get in some spacey Krautrock, so I immediately went to Amon Düül.
In Episode 6, resident nerd Cheese [Lane Factor] goes fishing in the woods with his uncles. When things get emotional, we hear this oddly uplifting song by a guy named Larry Norman. How did you find “I Wish We’d All Been Ready”?
That track came from Sterlin’s daughter, Portlyn. While we were spotting the episode, going through each scene and talking about what music we wanted, Sterlin showed us a video from a Christian movie of these women singing that song. He’s like, “My daughter turned me onto this weird Christian rock guy from the ’70s,” and I went, “Oh, my God. Let’s fit this into the Cheese episode.” It was perfect because in a way the song sounds very “after-school special.”
Big (Zahn McClarnon, left) and Cheese (Lane Factor) in a scene from Episode 6 of “Reservation Dogs,” when the uncles take Cheese fishing.
(Shane Brown / FX)
In music supervising “Reservation Dogs,” you evaluate each song’s emotional impact, but at the same time, you’re getting editor feedback, you might have licensing issues, you need to make sure the cue supports the scene. It’s a lot.
It is a lot. You’re constantly balancing the budget without wanting to lose the integrity of what the show’s trying to do. [You ask yourself,] “Will this song work instead? It’s cheaper.” If we could use a gazillion Johnny Cash songs or whatever, we’d do that, but I don’t think it would be as interesting.
They say constraints inspire creativity.
Exactly, and I think it’s wonderful because then you can expose viewers to new things and spotlight all these Native American artists too, so that people go, “What is that song?”
Looking back over the first two seasons of “Rez Dogs,” what musical moments stand out for you?
One of my favorites happened in Season 1, where we use a Lee Hazlewood song [1971’s “If It’s Monday Morning”] when Cheese makes the connection with “Grandma,” who’s not really his grandma. They’re sitting out there, and she can’t see, and, you know, she continues to be his grandma through the seasons. I loved that. And I also think of “Come and Get Your Love” at the end of Season 1, with the footage of Redbone playing over the credits.
What can you tell us about music for the show’s final episodes?
For [Episode] 309, we used a Native artist, Ken Pomeroy, who’s a Sterlin find. In 308, we have an amazing experimental Native American artist, Raven Chacon. He made this kind of surf record and sent a song to me. We put it at the end of Episode 8, and then I called Raven and said, “Do you have any more of that surf stuff, because it’s working really well in this episode.”
You’ve also included the Rolling Stones new single “Angry,” which is a huge get, in Episode 8. How did that happen?
Dasmarie Alvino at Universal Music Group mentioned that they had a new Rolling Stones album coming out. I thanked her and said I was very excited to hear the album as I am a lifelong fan. She then sent me a link. I listened to it day in and out when I was in London over the summer. I let Dasmarie know how into the album I was. She got back to me a few days later and said that the Rolling Stones would love to be considered for “Reservation Dogs,” citing the cultural impact and relevance the show has, which blew my mind and Sterlin’s as well! I remember texting him, and I believe his text response was “WHAAAAAA?”
Unlike most of the artists featured in this series, the Rolling Stones are pretty well known, to put it mildly.
The Stones, while massive, still fit the salt of the earth sound of the show, and this album reflects a lot of that mid- to late ’70s gritty rock sound they created. We luckily had this one episode left to complete where we knew the song would work. And it did. We both are still sort of in disbelief that we got a Stones song in the show.
“Reservation Dogs” has attracted a lot of fans for the way it portrays Native American life today. Any final thoughts as the series winds down?
I’m extremely heartbroken that the show’s gonna be over. I’ve learned so many things about modern-day Native American culture and music and everything else. I mean, I would have loved to keep going, because it’s been a dream job.
It’s time to head back to Panem and the world of The Hunger Games. In our latest look at The Hunger Games prequel movie, The Ballad of Songbirds & Snakes, it’s terror that’s on display. The purpose of the Games, the trailer makes quite clear, is fear and control. And there are certainly a new set of horrors heading our way. But, ironically, it’s Coriolanus Snow who is our hinge of morality this time around, alongside the charismatic Lucy Gray Baird. But will Snow be able to remember it’s not only Lucy Gray Baird that’s suffering? Well, probably not. But it will be an interesting journey all the same. You can take a look at the latest trailer for t, below.
There are a few too many snakes in this The Hunger Games prequel for our tastes. But we guess, as mentioned, fear is the whole point. And, it is in the title, after all. We were talking about the actual animals, but we guess the figurative snakes aren’t much better. In fact, they are probably worse. This The Ballad of Songbirds & Snakes trailer also cleverly harkens back to the original The Hunger Games movies by playing the haunting notes of “The Hanging Tree.” Ultimately, it has our attention. And, if nothing else, its cast is really bringing their best performances to this The Hunger Games movie.
The Hunger Games: The Ballad of Songbirds & Snakes stars Tom Blyth, Rachel Zegler, Peter Dinklage, Hunter Schafer, Josh Andrés Rivera, Jason Schwartzman, and Viola Davis.
Lionsgate
In addition to the trailer, TheBallad of Songbirds & Snakes has a new synopsis. It reads:
Experience the story of THE HUNGER GAMES — 64 years before Katniss Everdeen volunteered as tribute, and decades before Coriolanus Snow became the tyrannical President of Panem.
THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES follows a young Coriolanus (Tom Blyth) who is the last hope for his failing lineage, the once-proud Snow family that has fallen from grace in a post-war Capitol. With his livelihood threatened, Snow is reluctantly assigned to mentor Lucy Gray Baird (Rachel Zegler), a tribute from the impoverished District 12. But after Lucy Gray’s charm captivates the audience of Panem, Snow sees an opportunity to shift their fates. With everything he has worked for hanging in the balance, Snow unites with Lucy Gray to turn the odds in their favor. Battling his instincts for both good and evil, Snow sets out on a race against time to survive and reveal if he will ultimately become a songbird or a snake.
Ultimately, Panem is a poisonous place, no matter who you are. But it’s definitely more poisonous for the tributes than the citizens of the Capitol. We’ll have to wait and see who emerges a songbird and who a snake.
I may have just gotten myself into Final Fantasy XIV, but I don’t think I could have joined at a better time. My coworkers have had to listen to me obsessively talk about my character, Chetus, and his adventures in the lands of Eorzea. Roaming around in a bright red chicken suit that fits his adorable Lalafel frame perfectly, there may be something that I need to worry about more than just the typical enemies that inhabit the lands before me; something more diabolical and sinister than ever imagined.
Tweet via @KFC_jp on X (formerly known as Twitter)
On a typical day, the sight of Colonel Sanders would be a delight. A fresh bucket of hot chicken sounds like an absolute dream after a day of raiding, but since Chetus is primarily wearing the Chicken Suit/Fat Chocobo head combo, will he become the Raid Boss of my nightmares?
Jokes aside, it seems that KFC Japan is once again pairing up with Final Fantasy XIV to bring either exclusive mounts and/or cosmetics to the popular MMO once again after a previous collaborative effort put Chinese players in the shoes of a Fat Chocobo themselves.
Post via r/FFXIV by u/Jonasan999
It’s hard to know exactly what KFC Japan is cooking (besides delicious chicken) with this collaborative effort, but I can hardly keep my anticipation quiet. There was a small hint posted on their official Twitter page, but it may just be promotional art that they’re teasing. I promise I’m drooling because I’m thinking of the chicken, not the possibilities of what this crossover could bring to my account. Maybe they’ll add a special questline, as this version of Colonel Sanders looks like he could easily be related to Hilibrand.
It’s also unclear if this promotion is going to make its way to the States, but you already know that I’ve got my eBay account ready in case of emergency. We can only keep our fingers crossed (after we’ve licked them clean) that we can go get ourselves some exclusive FFXIV merch once this collaboration drops, but just make sure that you’re not wearing your favorite Chicken Suit if you’re hoping to survive the wraith of Colonel Sanders.
About the Author
Shaun Cichacki
As a fan of RPGs, Action & Retro titles, Shaun has been gaming since he was a young boy. With an overwhelming obsession involving Metal Gear Solid and Pizza Tower, you know you’re in for a wild ride when it comes to things he’s writing about.
Glenn Close’s Bring Change to Mind nonprofit is putting the final touches on its 11th annual Revels & Revelations fundraiser, selecting Ryan Reynolds to receive the night’s highest honor.
The veteran actor, producer and entrepreneur will receive the Robin Williams Legacy of Laughter Award, an honor that is awarded by the late legend’s children, Zak, Zelda and Cody. Upon receiving, Reynolds will be following in the footsteps of previous recipients Billy Crystal, Whoopi Goldberg, Ben Stiller, Melissa McCarthy and Dan and Eugene Levy.
Held at New York’s City Winery on Oct. 9, the Revels & Revelations program will also feature performances by Reba McEntire and comedian Amy Schumer. The program also includes musicians Jake Wesley Rogers, Jayli Wolf and BC2M ambassador Wayne Brady. Paul Shaffer has been tapped to serve as musical director and Erich Bergen will return to host the festivities.
Scott Nevins will lead a live auction that will include items and experiences like a garden tour and lunch prepared by Food Network star Ina Garten at her home in East Hampton and a signed guitar from superstar Taylor Swift. Funds raised from the event will support the growth of BC2M’s high school program.
BC2M is a national organization that operates with a mission “to end the stigma and discrimination surrounding mental illness” by working with leading scientists to make a difference in the lives of teens and adults. The cause is personal for Close as her sister, Jessie, lives with bipolar disorder and her nephew, Calen, lives with schizoaffective disorder.
“I am looking forward to a spectacular evening and am grateful for the generosity of my fellow artists who will gather to honor Ryan Reynolds and to inspire what I hope will be a record-breaking evening to sustain and create vital Bring Change to Mind Clubs throughout this country,” said Close.
Penn & Teller: Fool Us is returning soon to The CW, but the series is returning later than originally planned. Initially slated for return on October 20th, the series will return on October 27th.
Season 10 of the magic series will feature someone new joining Penn Jillette and Teller on stage. Brooke Burke is taking over hosting duties from Alyson Hannigan. In each episode, viewers watch aspiring magicians perform their best tricks to impress Penn & Teller.
The CW revealed more about the series’ return in a press release.
“The CW Network announced today that PENN & TELLER: FOOL US will premiere its upcoming 10th season on Friday, October 27 (8:00-9:00pm ET). The new season of the hit magic competition series welcomes author and actress Brooke Burke (“Dancing with the Stars,” “Melissa & Joey”) as host.
PENN & TELLER: FOOL US is a one-hour competition series celebrating magic and featuring the legendary duo Penn & Teller. On each episode of PENN & TELLER: FOOL US, aspiring magicians are invited to perform their best trick to try and fool the world-famous team of Penn & Teller. Anyone who succeeds wins the right to perform with Penn & Teller in their celebrated show at the Rio Hotel & Casino in Las Vegas. The remote studio audience and the TV audience watch along with Penn & Teller as they try to figure out the secrets. Penn & Teller see the trick only once and have to immediately try to work it out. The studio audience knows there are no camera tricks, secret edits or helpful camera cuts. This is all real magic
Brooke Burke is a television host, cancer survivor, entrepreneur, fitness educator, philanthropist, podcaster, and women’s health advocate who has been thriving in Hollywood for decades. The title she holds dearest, however, is that of mother to her four children – Neriah (21) and Sierra (19) Fischer and Heaven (14) and Shaya (13) Charvet. She has held numerous successful network television jobs and high-profile brand partnerships. In 2008, Burke became the champion of “Dancing with the Stars” Season 7 which she later parlayed into a co-hosting job that she would hold for eight seasons. Some of her other notable credits include producing and hosting the award-winning Saturday morning educational show “Hidden Heroes,” hosting TV Land’s branded content series “I Dare You,” and, most recently, co-hosting the iHeartRadio podcast Intimate Knowledge. Burke is the author of two books: a biography entitled The Naked Mom: A Modern Mom’s Fearless Revelations, Savvy Advice, and Soulful Reflections and Chicken Soup for the Soul: The Joy of Less.
PENN & TELLER: FOOL US is created and executive produced by Penn Jillette, Teller, Peter Adam Golden (“Penn & Teller: BS”), Andrew Golder (“Solitary”) and Lincoln Hiatt (“Solitary”), in association with 1/17 PRODUCTIONS and September Films (part of DCD Media).”
What do you think? Are you a fan of this CW series? Do you plan to watch Penn & Teller: Fool Us when it returns next month with season 10?
Let the games begin as “Hunger Games” prequel film “The Ballad of Songbirds and Snakes” slithers into theaters soon.
The latest trailer for the film captures the first televised Hunger Games in Panem. Per the official synopsis, after Lucy Gray (Rachel Zegler) commands all of Panem’s attention by defiantly singing during the reaping ceremony, post-war disgraced Snow family member Coriolanus Snow (Tom Blyth) 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 will ultimately reveal who is a songbird, and who is a snake.
Zegler’s Lucy is the tribute for District 12, while Viola Davis plays the Head Gamemaker and Peter Dinklage is the Head of the Academy.
Francis Lawrence directs from a screenplay by Michael Lesslie and Michael Arndt. Lawrence, Brad Simpson, and Nina Jacobson serve as producers.
Film producer Jacobson told Vanity Fair that Zegler’s character Lucy is not at all like Jennifer Lawrence’s Katniss, who led the first batch of “Hunger Games” films. According to Jacobson, Lucy is in fact the “anti-Katniss.”
“She’s a musician, she’s a performer, she’s a charmer,” Jacobson said. “Snow has never met a girl like this before. He is a shape-shifter who craves control but is drawn to a woman who threatens everything he thought he wanted.”
However, Katniss’ family history will be included in the film as an Easter egg for fans, harking back to Suzanne Collins’ YA series.
“Suzanne has done such a great job of going back into the mythology and telling a story about the creation of the world,” Lawrence said. “You get a little background of Katniss. You will obviously get a lot of the background of Snow, the history of the Games, the history of some of the music, where songs like ‘The Hanging Tree’ actually come from. To be able to show a different side of Panem at a different time in its history has been really exciting. It’s completely different stylistically, in terms of design, character, and point of view.”
“The Hunger Games: The Ballad of Songbirds and Snakes” is premieres November 17 in theaters. For all the details on the film, click here and check out the trailer below.
In the past several months, Donald Trump has had a burning question for some of his confidants and attorneys:
Would the authorities make him wear “one of those jumpsuits” in prison?
As the criminal cases against him have piled up, the former president and 2024 GOP frontrunner has wondered aloud in recent months about what life would be like if he’s convicted, and if appeals fail. While Trump publicly professes confidence, privately, three sources familiar with his comments say, he’s been asking lawyers and other people close to him what a prison sentence would look like for a former American president.
Would he be sent to a “club fed” style prison — a place that’s relatively comfortable, as far these things go — or a “bad” prison? Would he serve out a sentence in a plush home confinement? Would government officials try to strip him of his lifetime Secret Service protections? What would they make him wear, if his enemies actually did ever get him in a cell — an unprecedented set of consequences for a former leader of the free world.
What would happen — including in the Fulton County, Georgia criminal case against him and various co-defendants — if he were convicted and sentenced, but also re-elected?
The private questions are a departure from the air of supreme confidence invincibility Trump has projected. In interviews and elsewhere, he has claimed that the thought of losing in court and going to prison simply cannot enter his mind.
“I don’t even think about it,” Trump told NBC’s Kristen Welker during an interview last week. “I’m built a little differently I guess.”
Trump’s attorneys like Alina Habba have amplified that bravado. Habba told Fox News’ Shannon Bream last month that the former president was so confident he would be vindicated that he’s not even preparing for his various trials. “If it was a normal person, honestly Shannon, I could understand the concern,” she said, adding that “You don’t have to prep much when you’ve done nothing wrong.”
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But now out of office, sources close to Trump and those who’ve heard him ask these questions about a hypothetical sentencing tell Rolling Stone that it’s clear the gravity of his mounting legal peril is getting to Trump, regardless of whether the former president can admit to it in public.
A Trump spokesperson did not respond to questions from Rolling Stone.
Trump’s private concerns mark a significant departure from some of the private confidence he displayed during his first brush with a special counsel investigation. One former White House official who worked on the Mueller investigation said Trump was not remotely worried about consequences from the Russia inquiry. Not only was he convinced he had done nothing wrong; Trump was also aware of the Justice Department policy that a sitting president cannot be indicted while in office.
Even before he faced criminal charges, Trump showed at least a distant concern about looming criminal liability. As Rolling Stone reported in 2022, the former president told associates that he was looking forward to running for president again at least in part because the office would afford him at least temporary immunity from prosecution. He and his legal team have also grasped at exotic legal theories in seemingly desperate attempts to shut down the cases against him in Fulton County and New York City.
Experts say that, in the event of a conviction, Trump would still be entitled to Secret Service protection for the rest of his life. But the answers to many of his other questions — like where he’d have to serve a sentence and under what conditions — would vary based on whether he’s convicted and on which charges.
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Still, the former president faces daunting math given the scope of charges against him. At the moment, Trump is set to stand trial in four criminal cases spanning 91 charges, including several felony counts.
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The jeopardy places the former president in rare company with few historical examples to illustrate what he might expect in the event of a conviction. The closest equivalent to Trump’s legal predicament lies in the 1973 federal prosecution of Nixon Vice President Spiro Agnew on charges related to bribes from his tenure as governor of Maryland. In that case, Agnew struck a plea deal that netted him only probation.
Like Trump, Agnew campaigned as a populist pugilist eager for conflict with the political left. But as the criminal investigation of him mounted, privately “Agnew was utterly terrified of going to jail,” his biographer Charles J. Holden told Rolling Stone. “He was still terrified of that and the humiliation of it haunted him as well.”
Magnet Releasing, the genre arm of indie distributor Magnolia Pictures, has acquired North American rights to “The Seeding,” a new horror-thriller. It marks the feature directorial debut of Barnaby Clay and world premiered in Tribeca Midnight
“The Seeding” is about a hiker who gets lost in the desert and seeks refuge with a woman who is living alone. He soon discovers that she might not be there willingly. “The Seeding” stars Scott Haze (“Venom” and “Jurassic World Dominion”) and Kate Lyn Sheil (“You’re Next” and “V/H/S”). It will next screen at LA’s Beyond Fest and is in competition at this year’s edition of Sitges film festival. Magnet will release the film early next year.
“Barnaby Clay has delivered a truly unsettling, shockingly nightmarish film with ‘The Seeding,’” said Magnolia Pictures co-CEOs Eamonn Bowles and Dori Begley in a statement.
Magnet has previously released the likes of Tomas Alfredson’s “Let the Right One In,” Takeshi Miike’s “13 Assassins,” Gareth Edward’s “Monsters,” and Neil Marshall’s “Centurion.”
“When you set out to make a low-budget film there are a few dream scenarios you hold in the back of your mind, they keep you going through the many challenges stalking the path,” said Clay. “Having Magnolia’s genre arm Magnet release this film was one such hope. They consistently release bold, imaginative films that stand the test of time, and I’m thrilled ‘The Seeding’ will now sit alongside such titles.”
Clay wrote the script, along with directing the film. “The Seeding” is an Out Of The Ether production. It was produced by Brian Etting. XYZ Films executive produced the movie and will continue global sales on the film. The deal was negotiated by Magnolia SVP of Acquisitions John Von Thaden, and Pip Ngo, SVP of Sales and Acquisitions at XYZ Films, on behalf of the filmmakers.
IF you’re a beer fan with a wallet big enough to afford a private island, this listing could be the perfect investment for you.
Pumpkin Island is a demure paradise located in the Southern Great Barrier Reef in Queensland, Australia, easily recognised by ale fans.
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Pumpkin Island has hit the market for just £11.3millionCredit: PrivateIslandsOnline
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The stunning haven in the Southern Great Barrier Reef is now an idyllic eco resortCredit: PrivateIslandsOnline
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The island was famed in a comedic 2012 advert by Aussie beer company XXXXCredit: YouTube
It was made famous in a comedic advert for Brisbane-based beer company XXXX, which touted the place as a remote man cave.
Brewers at Castlemaine Perkins leased the picturesque island as part of a promotional campaign in 2012 for three years, welcoming thousands of boozers to their boozy oasis.
The memorable publicity stunt poked fun at their clientele by dubbing the island “the perfect male hideaway from ladies”.
XXXX called on their fans to help build it and vote for the amenities they wanted included – such as an “ingenious beer-delivery system” and a “one-hole golf course”.
The advert wrapped up with the message: “XXXX Gold fans far and wide have a place to call their own for years to come.”
But beer lovers were given the boot in 2015 when the lease came to an end – although the Aussie company has left a lasting legacy.
Pumpkin Island’s notoriety from the advert easily justifies the £11.3million price tag that it has hit the market with.
The delightful weather all year round is also a welcome bonus – as the temperature rarely drops below 25C.
Investors breathed a new lease of life into Pumpkin Island in 2016, transforming the haven for blokes into a landmark eco-retreat.
Spanning just an acre and a half in area, the intimate island boasts five solar and wind-powered oceanfront cottages as well as two beach bungalows.
It is completely off-grid and relies on the elements to sustain itself, so it is probably a good job it can only accommodate 34 guests.
Pumpkin Island was the first beyond carbon neutral island in Australia, incredibly offsetting 150 per cent of its annual greenhouse gas emissions.
The listing on Private Islands Online describes it as a “tiny gem” where the exotic wildlife wows those lucky enough to visit it.
Dolphins, turtles and whales grace the turquoise shoreline, while guests can explore the stunning coral reefs on snorkelling trips.
The lucky buyer can call its pristine, protected beaches their backyard and spend their days harvesting their own oysters or fishing for their supper.
Pumpkin Island may take an eco approach to life, but there is still an air of luxury to the Australian sanctuary.
As well as an array of grand buildings, there is a helicopter pad, two moorings and a passenger boat dedicated to ferrying clients.
An adorable open beach bar, a raised lookout area and a small playground for children also give Pumpkin Island some charm.
Extraordinarily, this is only the second time Pumpkin Island has been put up for sale since it was won in a poker game in the 1960s.
It was snapped up by Queensland-based company Sojourn Properties Pty Ltd, a luxury accommodation company owned by the Rumble family, in 2003 for just £682,000.
The uber-rich brood suggested it was the perfect place to escape to during a future pandemic, as Covid did not manage to cripple it.
Real estate agents at Knight Frank previously dubbed the listing an “opportunity that only presents itself once in a blue moon”.
They said: “Pumpkin Island is a very unique property offering privacy, seclusion and exclusivity, and is a fantastic destination for tourists or locals wanting an escape.
“We expect it will be even more attractive in the current climate post COVID-19 for someone who wishes to use it as a safe haven during any possible future pandemics.
“During this pandemic, life continued on the island as normal.”
The tropical haven has continued to thrive, making it quite the promising investment.
The sellers are offering a leasehold until 2046, when it will become a rolling lease over the entire island.
If you need any more convincing, purchasing Pumpkin Island would allow you to apply for a Business Innovation and Investment Visa too.
This means the buyer would be able to enter and become a permanent resident of Australia – which is an enticing BOGOF offer.
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Pumpkin Island boasts five oceanfront cottages and two beach bungalowsCredit: PrivateIslandsOnline
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Up to 34 guests can enjoy the facilities at the retreat which is completely off-gridCredit: PumpkinIsland
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The listing describes the island as a ‘tiny gem’ that is brimming with exotic wildlifeCredit: PumpkinIsland
The upcoming film takes place 64 years before Katniss Everdeen (Jennifer Lawrence) volunteered as tribute in The Hunger Games, and decades before Snow became the tyrannical President of Panem.
In The Ballad of Songbirds & Snakes, Snow isthe last hope for his failing lineage, which has fallen from grace in a post-war Capitol. He is assigned to be a mentor to Lucy Gray Baird (Rachel Zegler), a tribute from the impoverished District 12, in the 10th Hunger Games. When her charm captivates the audience of Panem, Snow sees an opportunity to shift their fates and the pair unites to turn the odds in their favor.
But it won’t be an easy task. “Your role is to turn these children into spectacles, not survivors,” warns Casca Highbottom (Peter Dinklage), dean of the Academy, in the trailer.
Snow’s biggest adversary seems to be the cruel and creative Head Gamemaker, Volumnia Gaul, played by Viola Davis, who has a penchant for serpents and a desperate need for vengeance.
“Fueled with the terror of becoming prey, see how quickly they become predator?” she laughs, as she releases hundreds of snakes into the Hunger Games arena.
The film also starsEuphoria‘s Hunter Schafer as Tigris Snow, cousin and confidante to Coriolanus; Josh Andrés Rivera as Sejanus Plinth, the mentor to a tribute from District 2 and a close friend of young Snow; and Jason Schwartzman as Lucky Flickerman, the official host of the 10th Hunger Games.
Watch the full trailer and see character posters below:
Another day, more X drama, as Donald Trump Jr.’s account was hacked Wednesday morning and posted a series of wild messages, including one claiming his father, former President Donald Trump, had died.
The series of posts included “I’m sad to announce, my father Donald Trump has passed away. I will be running for president in 2024,” “This just in: North Korea is about to get smoked,” “Some interesting messages with Jeffrey Epstein,” and, charmingly, “I also fucked your girl btw @LoganPaul.”
The messages were posted in a spree around 8:25 am ET and took half an hour to be removed and for the account to seemingly be restored.
Gary Oldman and the Slow Horses gang return with the first two episodes of Season 3 on December 1 with new episodes to be released individually each Friday through December 29 via Apple.
The series is a darkly humorous espionage drama that follows a dysfunctional team of British intelligence agents who serve in a dumping ground department of MI5 known un-affectionately as Slough House.
In Season 3, adapted from Real Tigers, the third novel in the Mick Herron series, a romantic liaison in Istanbul threatens to expose a buried MI5 secret in London. When Jackson Lamb (Oldman) and his team of misfits are dragged into the fight, they find themselves caught in a conspiracy that threatens the future not just of Slough House but of MI5 itself.
The series also stars Kristin Scott Thomas, Jack Lowden, Saskia Reeves, Rosalind Eleazar, Christopher Chung, Freddie Fox, Chris Reilly, Samuel West, Sophie Okonedo, Aimee-Ffion Edwards, Kadiff Kirwan and Jonathan Pryce.
Ṣọpẹ Dìrísù joins the season three cast as Sean Donovan, the former head of security at the British embassy in Istanbul, along with Katherine Waterston who plays Alison Dunn, an MI5 agent who uncovers a dark secret at the heart of the agency.
Seen in retrospect, a first feature by a major filmmaker can be a revelation particularly if, as with Stanley Kubrick’s low-budget war movie “Fear and Desire,” it concerns a career-long preoccupation — and even more so if the filmmaker has attempted to suppress it.
An independent production which, although fictional, premiered in the documentary section of the 1952 Venice Film Festival, “Fear and Desire” is getting a weeklong run at Metrograph, 70 years after its release in the United States.
Kubrick, 23, had left his job as a staff photographer for Look magazine when he undertook the project, crediting himself as director, photographer and editor, as well as producer. The means were modest; the story, written by a high-school buddy, Howard Sackler, was epic. A portentous voice-over locates the action “outside history.” Four universal — albeit obviously American — soldiers, trapped six miles behind enemy lines, battle their respective demons in an attempted return to base.
In addition to its allegorical framework, the film partakes in then fashionable existentialism. The same actor (Kenneth Harp) is cast as both the squad’s loquaciously philosophical lieutenant and an equally introspective enemy general. The soundtrack is heavy with the men’s internal musings. The new digital restoration includes nine minutes, mostly post-dubbed dialogue, cut after Venice when the film’s title was changed from “The Shape of Fear” by the distributor Joseph Burstyn, the pre-eminent U.S. importer of Italian neorealist films who also released the independent classic “Little Fugitive” in 1953.
However arty, “Fear and Desire” is squarely in the American B-movie tradition. The situation — a cutoff platoon — and the pragmatic use of close-ups suggest Samuel Fuller’s Korean War quickie “The Steel Helmet,” which opened in 1951. Instantly notorious for depicting an American war crime, it is a movie Kubrick might well have seen.
In Fuller’s film, an enraged soldier shoots an unarmed North Korean prisoner of war. In Kubrick’s, an unbalanced recruit (the future director Paul Mazursky) abuses and ultimately kills a local woman (Virginia Leith) who, having stumbled upon the four soldiers, is bound to a tree, and left in his charge. The sequence which juxtaposes Mazursky’s babbling with the woman’s petrified silence is the movie’s heart of darkness. Although Leith has virtually no dialogue, her image was featured in the movie’s ads.
“Fear and Desire” is clumsily dubbed but strikingly photographed. A.H. Weiler’s New York Times review was both sympathetic and supportive, crediting Kubrick and Sackler with “a moody, often visually powerful study” of men under stress. The movie was not, however, a success. Nor was it a fond memory for its maker.
When “Fear and Desire” was revived at Film Forum in 1994, Kubrick had a Warner Bros. publicist bombard local critics with letters expressing Kubrick’s feeling that the movie was nothing more than a “bumbling amateur film exercise,” written by a failed poet (an unkind reference to Sackler, who some 25 years after “Fear and Desire” was awarded a Pulitzer for his play “The Great White Hope”).
Kubrick characterized “Fear and Desire” as “a completely inept oddity, boring and pretentious.” While undeniably pretentious, the movie is neither inept nor boring. Its oddity lies in its being both a prelude and footnote to Kubrick’s remarkable career.
The JIC said it expects full certification to be awarded in early 2024 to those who pass the data evaluation.
“It is clear that — while there is still work to be done — we are moving closer to having more currencies that are commercially ready for scalable transactions across both buyers and sellers,” the JIC said in a prepared statement.
The TV networks are hurtling toward a showdown with Nielsen, which they feel has been too slow to embrace new technology and has not done enough to bolster older methodologies. The networks’ stance gained new ballast in 2022, when Nielsen’s national ratings service lost its accreditation. Nielsen has won it back and has in recent months moved forward with its own new technology offering, NielsenOne.
The prospect of the networks picking the technology that will help count audiences and set advertising rates once might have been turned down outright. But more parties seem willing to at least incorporate first-party data from media outlets. Nielsen nearly adopted such information from Amazon Prime Video for tabulating national viewership of “Thursday Night Football” before an impassioned outcry from the networks postponed the transaction.
The networks are trying to certify measurement processes with uniform benchmarks by the spring of 2024, before the industry’s next “upfront” ad-sales market begins. The JIC aims to develop a set of standards, and, in what may be a major enticement to Madison Avenue, will create a set of streaming viewership data from the programmers themselves, information that at present is largely proprietary and not often disclosed to the larger market. The new consortium will also engage a third-party audit firm to verify the accuracy of the streaming data and intends to work with several industry organizations that work with marketers, including the VAB and Association of National Advertisers.
The DC Universe’s introduction of Superman and Batman could benefit from the absence of Iron Man and Captain America in the MCU, avoiding overshadowing by these prominent heroes.
Issues with the DCEU led to the appointment of James Gunn and Peter Safran as co-CEOs of DC Studios, resulting in a complete reworking and establishment of the new DC Universe.
While the MCU may have faced criticism after Avengers: Endgame, the franchise can still thrive without characters like Iron Man and Captain America, thanks to the introduction of successors and the continuation of their legacies.
One major problem that has faced the Marvel Cinematic Universe since 2019’s Avengers: Endgame could benefit the start of the rebooted DC Universe. Having both adapted storylines from the competing Marvel Comics and DC Comics into massive live-action franchises, Marvel Studios and DC Studios have always been battling for the affection of mass audiences, and the MCU has always managed to prevail. In fact, the failures of the DCEU led to the hiring of filmmaker James Gunn and producer Peter Safran as co-CEOs of DC Studios in 2022, with the pair promising a complete reworking of DC’s live-action future, establishing the new DC Universe.
Set to kick off in 2024 with Creature Commandos and Waller, the DC Universe will start officially with the 2025 release of Superman: Legacy introducing David Corenswet as a new version of the Man of Steel. This will be closely followed by a rebooted Batman story in The Brave and the Bold, with a new actor portraying the Caped Crusader. It may be risky for the DC Universe to begin with new versions of these two iconic superheroes – the DCEU made this mistake – but Gunn and Safran have a higher chance of making this work thanks to the current state of the MCU and its missing cornerstone heroes.
DCU’s Superman & Batman Introduction Benefit From The MCU’s Endgame Endings
Tony Stark’s Iron Man and Steve Rogers’ Captain America were two of the MCU’s most crucial superheroes in the Infinity Saga, but both of their stories came to an end in 2019’s Avengers: Endgame. While Stark sacrificed his life to save the universe, Rogers retired in the past with Peggy Carter, finally getting his happy ending, but leaving the MCU without two of its most high-profile heroes. Recent rumors suggest the MCU could reboot after the Avengers: Secret Wars release, meaning Iron Man and Captain America could return, but the fact that these two legendary heroes are currently missing could be good news for the DC Universe.
Much like Iron Man and Captain America are for Marvel, Superman and Batman are key characters in DC’s storylines, so introducing them to the DCU while the MCU is missing its two biggest stars could be the best choice. There will be no chance of these MCU heroes overshadowing the DCU’s Superman and Batman, which was perhaps a problem for the DCEU. Henry Cavill debuted in 2013’s Man of Steel in the same year as Iron Man 3, and Ben Affleck’s first adventure as Bruce Wayne in Batman v Superman: Dawn of Justice released shortly before 2016’s Captain America: Civil War, but this won’t be a problem for DC Studios.
Why The MCU Can Thrive Even Without Tony Stark & Steve Rogers
While Marvel Studios’ franchise may have seen an increase in criticism in the wake of Avengers: Endgame, the MCU can still return to form even without prominent heroes such as Iron Man and Captain America. The MCU’s Phase 4 introduced successors for both Stark and Rogers in the forms of Anthony Mackie’s Sam Wilson, the new Captain America, and Dominique Thorne’s Riri Williams, a.k.a. Ironheart. Iron Man and Captain America’s legacies will be felt in the MCU for years to come, even if the heroes aren’t rebooted, as new characters will carry their torches. In this way, both the Marvel Cinematic Universe and the new DC Universe can thrive.
Back at EVO 2023, Bandai Namco delighted Tekken 8 fans by revealing the brand new character Azucena, and some may wonder why she was chosen to fill that slot.
HIFF is proud to announce the complete lineup of films for the 43rd Hawai’i International Film Festival (HIFF43) presented by Halekulani. The festival is centered around the theme of diving into creativity, cultures, experiences and new ways of thinking through the vehicle of cinema.
Boasting over 186 film selections (91 features & 95 shorts) from across the globe, the lineup is comprised of feature film favorites from major festivals throughout the year, several world and international premieres of new works, and special forums dedicated to spark discourse on Environmental films, Pasifika, Kānaka Maoli, and Indigenous experiences through the intersection of creative content and culture, reflecting Hawai‘i as a gathering place and a bridge for cultural exchange.
Festival Passes on Sale Now!
Make the most out of your festival experience by purchasing a festival pass.
MEMBER TICKETS ON SALE
September 22, 2023
GENERAL PUBLIC TICKETS ON SALE
September 25, 2023
HIFILM – HIFF43’s “Industry Hub,” is an industry track of five career development programs for participants to attend to learn from industry professionals—both locally and nationally—with the mission of industry opportunities in the State of Hawai‘i that are sustainable locally and provide opportunities for API and NHPI and Pasifika communities in the following spaces—independent film, branded content, unique film crew positions and film criticism and content creation.
HIFF Selects Member Screening
HIFF Selects members, join us next Wednesday, September 20th for an advanced screening of FLORA AND SON. Become a HIFF Selects member to RSVP!
Click on a star to indicate your rating of this movie!
‘We’re all animals, baby’ Hands of Hell is a 2023 American slasher horror film about two psychopathic lovers who escape a mental institution and go on a murder spree at a remote retreat camp.
Written and directed by Gianna Lutz (short: This One’s on Me; actor in The Texas Witch), making her feature directorial debut.
The Seven7h Letter Productions movie stars Britton Emert, Woody Wilson Hall, Paul A. Rossi, Charlie Kingery, Abby Anderson, Brady Box, Chase Walker and Gianna Lutz.
Release: Hands of Hell will be released on VOD by Screen Media Films on October 23, 2023.
Trailer [1080p HD]:
Notes: Ignore the obviously fake 10/10 ‘review’ currently on IMDb.
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Desperate Housewives star and producer Eva Longoria will deliver a joint keynote at Mipcom Cannes next month.
Alongside Banijay Americas Chairman Cris Abrego, the Emmy-nominated director, producer, and activist will delve into the latest themes defining the entertainment industry, forecasting how they may shape the future both creatively and commercially.
The keynote will take place in the Grand Auditorium of the Palais des Festivals in Cannes on Monday, October 16 at 4pm local time, as part of Mipcom’s Media Masterminds track.
Longoria and Abrego have been professional collaborators for more than two decades. Their talk will highlight their experiences and insights as industry leaders.
Besides her acting roles, Longoria has run her own production business UnbeliEVAble Entertainment since 2005. The company is behind ABC’s Grand Hotel, NBC’s Telenovela, and Netflix’s Emmy Award-nominated documentary Reversing Row, and culinary docuseries Eva Longoria: Searching for Mexico for CNN. She made her feature directorial debut through Flamin’ Hot, which released earlier this year through Searchlight Pictures on Disney+ and Hulu, and engages in philanthropical work and activism on issues such as diversity in the media and Latina entrepreneurialism.
Abrego, the founder of 51 Minds Entertainment and a key player in the establishment of reality TV in the U.S., is one of the most prominent TV execs in the Americas and currently leads acquisitions and new business ventures across North and South America for Banijay.
“Mipcom Cannes is one of the industry’s most significant global marketplaces, and it’s an honor to join the conversation as a keynote speaker alongside Cris,” said Longoria. “Our industry is facing tremendous disruption and transformation which can lead to opportunities that can transform and reshape the future of what content looks like. I’m looking forward to discussing how we can drive what’s to come.”
Mipcom will run from October 17-19 in Cannes, France. Several industry keynotes such as Warner Bros Discovery International President Gerhard Zeiler have already been announced.
BBC director general Tim Davie has spoken publicly for the first time about the recent allegations against Russell Brand, who was a major figure at the network for several years.
On the first day of Royal Television Society’s Cambridge Cambridge, where Brand was — unsurprisingly — a regular topic of discussion on stage, in his first question as part of his U.K. keynote he was asked what the accusations meant for the BBC.
Over the weekend, the comedian, actor and TV host was the subject of a joint investigation by The Times, The Sunday Times and Channel 4 Dispatches in which four women accused him of rape, sexual assault and emotional abuse between 2006 and 2013, all of which he has vehemently denied.
“I think we just can’t be complacent. And this is not an issue that can be just put down as wholly historic,” said Davie, who was previously the BBC’s director of audio when Brand, in 2008, resigned following a controversy on his BBC Radio 2 show described as a serious editorial breach. “I think this is an important and healthy dialogue to have around the deep imbalances of power… I think there’s a deep responsibility for the leaders now and we’ve been at it for a while here.”
Davie said that he was “proud of the progress” at the BBC, which he claimed involved setting clear processes so there was “very, very vigorous support” and a “flawless” whistleblowing process.
“There have been deep problems with misogyny, abuse of power… and we just have to be utterly vigilant, be unaccepting of it, and create a culture of which where there’s a trust, that bringing information forward is treated very seriously,” he said, adding that he thought the BBC’s record in recent years — which have seen a number scandals erupt involving high-profile employees — showed there was “never a sense that we want to cover anything up.”
Davie, who following the allegations against Brand announced that the BBC would be launching an internal review into his time at the corporation, also said that he hadn’t ruled out an external review into the matter.
Earlier in the day at the Convention, YouTube vp EMEA Pedro Pina was asked about YouTube’s decision to stop Brand from receiving advertising money off his popular YouTube channel, saying that it prevented him from “making a living” off the platform.
Unlike the BBC and Channel 4, which have both removed elements of Russell Brand’s content from their streaming services, Pina said YouTube would only delete “harmful” content as per its guidelines, adding that “right now, from what we know, we don’t have harmful content by Russell Brand.” However, he did admit that they had removed one of Brand’s videos in the past, a video that was accused of spreading COVID misinformation.
“But if we find out over the next days, hours, weeks, that there’s more reason to take more action, we will certainly do that.”
Ozu Yasujiro, the leading Japanese film director behind classics including “Tokyo Story” and “Late Spring,” has had his double birth and death anniversaries – Ozu died in 1963 on the day of his 60th birthday, a little more than a year after the release of his last film “An Autumn Afternoon” – celebrated throughout 2023 at places as varied as the Cannes Film Festival, Los Angeles’ Margaret Herrick Library and the Taiwan Film & Audiovisual Institute.
But it falls to October’s Tokyo International Film Festival to put on this year’s biggest and most comprehensive reconstruction of Ozu’s surprisingly varied career.
Working in conjunction with the National Film Archive of Japan, the festival will present an extensive retrospective that covers almost all the films that Ozu directed (TIFF/NFAJ Classics: Ozu Yasujiro Week) from Oct. 24-29.
Ozu spent his entire career, from camera assistant in 1923 to renown director in 1962, as an employee of major Japanese studio Shochiku, with all the advantages and disadvantages such an arrangement brought.
While Ozu is best known for his stripped-down dramas, often centered on family relationships, sometimes troubled or contentious, involving parents and young or grown-up children, many hinging on questions of marriage, generational misunderstandings or the loneliness of the elderly, the director’s register may not entirely have been of his own choosing.
“The apparent consistency of the post-war films surely owes as much to this production situation as to Ozu’s aesthetic choices,” wrote critic Tony Rayns in a recent Sight & Sound portrait. Rayns also suggests that Ozu’s pre-War output was more varied than what followed, and that it freely borrowed from other industries, including Hollywood.
“Few knew that the director of films like ‘Tokyo Story’ and ‘Early Spring’ had once made riotous student-slacker comedies and gangster movies,” Rayns writes.
Ozu’s films have needed repeated re-exploration. His post-WWII films were scarcely seen outside Japan until western audiences in the 1950s tuned into Kurosawa Akira and Mizoguchi Kenji. Similarly, many of his pre-war works were thought to be lost and were only later re-assembled and reassessed within Japan.
The titles playing at the Tokyo festival run the entire gamut from 1929 to 1962, while those playing at the National Archive focus more on the earlier period, and run from 1929 to 1941 (see below).
Japanese scholars and contemporary film makers including Kelly Reichardt, Kurosawa Kiyoshi, Jia Zhangke and Wim Wenders will be on hand the same week to head a discussion section called The Shoulders of Giants that follows the screening of restored 1959 film “Good Morning.”
Wenders, who is this year set as the head of Tokyo’s competition jury and is also responsible for the festival’s opening title “Perfect Days,” is an Ozu aficionado and will lead the tribute. Another session, hosted by radio personality Chris Tomoko, will feature Ozu discussions by variety of guests, as well as a live performance by Kanenobu Sachiko.
The talk sessions are co-hosted by The Tokyo Toilet Art Project, which was also involved in “Perfect Days,” Shochiku and the Kawakita Memorial Film Institute among others.
(Shochiku was responsible for the 4K digital restoration of “Tenement Gentleman” while Toho was responsible for the restoration of “Muneteka Sisters,” which both played at Cannes in May and are set for French theatrical re-releases.)
A public reading of the screenplay of “Tokyo Story” and personal recollections of time spent with Ozu by Nakai Kie will take place on Oct. 26. It is backed by Shochiku and the Mitsukoshi retail chain, both of which have Ozu connections.
Japanese pay-TV platform Wowow has recently commissioned six up-and-coming filmmakers to remake half a dozen of Ozu’s early, silent films. Three episodes will play at the film festival as part of its TIFF Series section.
Ozu Yasujiro Titles at the Tokyo IFF
“A Straightforward Boy” (1929, 21-min.version), “I Was Born, But…” (1932, WP) “Dragnet Girl” (1933, 4K, (screened with live performance by renowned trumpeter Kuroda Takuya) “Kagamijishi” (1936, WP) “There Was a Father” (1942, 4K) “Record of a Tenement Gentleman” (1947, 4K) “A Hen in the Wind” (1948, 4K) “Late Spring” (1949, 4K) “The Munekata Sisters” (1950, 4K) “Early Summer” (1951, 4K) “Tokyo Story” (1953, 4K) “Tokyo Twilight” (1957, 4K) “Equinox Flower” (1958) “Good Morning” (1959) “Floating Weeds” (1959, 4K) “Late Autumn (1960) “The End of Summer” (1961, 4K**) “An Autumn Afternoon” (1962). *4KWP: World Premiere screening of the 4K digitally restored version. **4K: Screening of the 4K Digitally restored version.
Titles at National Film Archive of Japan During Tokyo IFF
“Days of Youth” (1929) “I Graduated, But…” (1929) “Woman of Tokyo” (1933) “The Lady and the Beard” (1931) “A Straightforward Boy” (1929, 14-min. version) “A Straightforward Boy” (1929, 21-min. version) “Walk Cheerfully” (1930), “That Night’s Wife” (1930), “Tokyo Chorus” (1931) “Where Now Are the Dreams of Youth?” (1932) “Passing Fancy” (1933) “A Mother Should be Loved” (1934) “A Story of Floating Weeds” (1934) “An Inn in Tokyo” (1935) “The Only Son” (1936) “What Did the Lady Forget?” (1937) “Brothers and Sisters of the Toda Family” (1941).
Record of a Tenement Gentleman, directed by Ozu Yasujiro.
(c) 1947 Shochiku Co. Ltd.
The VIP guest list for tonight’s State Banquet at Versailles includes Rolling Stones frontman Mick Jagger and French multi-billionaire Bernard Arnault – the richest man in the world.
Organisers have invited a range of celebrities to eat and drink with King Charles and Queen Camilla in the lavish Hall of Mirrors – a space designed to reflect the omnipotence of the Sun King, Louis XIV.
Rock royalty Mr Jagger, 80, will be travelling from his own stately home – the Château de Fourchette (Fork House) in the Indre-et-Loire department – for the evening.
Mr Arnault, 74, owns luxury mansions in Paris and Bordeaux and is the head of the LVMH luxury goods conglomerate, which includes brands like Louis Vuitton and Christian Dior.
Rich lists regularly put him at Number 1, with his fortune estimated by Forbes to be £178billion. In 2012 he was made Knight Commander of the Order of the British Empire ‘for services to business’ by the late Queen Elizabeth II.
In their first visit to the country as King and Queen, Charles, 76, and Camilla, 74, will undertake 21 high-profile engagements
Rock royalty Mr Jagger, 80, will be travelling from his own stately home in the Indre-et-Loire department for the evening
Bernard Arnault, 74, is the head of the LVMH luxury goods conglomerate, and owns multiple homes around the world
The red carpet has been rolled out for King Charles and Queen Camilla’s arrival in Paris
Franco-British actors on the 150-strong guest list include Charlotte Gainsbourg, 52, and Emma Mackey, 27, from the Netflix series, ‘Sex Education’.
Actor Hugh Grant, 63, who owns a home in France, will also be there. The 90s heartthrob has previously joked that he is only truly happy when in France.
Sports personalities who are invited to include former Arsenal manager Arsène Wenger, 73, and ace midfielder Patrick Vieira, 47, along with former Chelsea and Ivory Coast striker, Didier Drogba, 45.
Glamourous guests can expect the best of French cuisine, with Michelin-starred chefs Yannick Alléno, Anne-Sophie Pic and Pierre Hermé overseeing the menu – which had to receive the royal stamp of approval.
The chefs have been banned from serving foie gras, a French specialty which Charles has famously shunned over animal welfare concerns, with the King said to have provided a strict list of culinary demands for the meal.
There will, however, be plenty of mushrooms served to the King and Queen, which are a favourite as they ‘remind them of the late Queen, Elizabeth II’, a French government source said.
Actor Hugh Grant , 63, who owns a home in France, will also attend the banquet
President Emmanuel Macron is expected to throw a lavish state banquet in the Hall of Mirrors at Versailles to mark the King and Queen’s arrival
The dinner will serve as a welcome to the British monarch as his three-day state visit to France gets underway today.
The highly-anticipated trip was postponed amid widespread rioting in April, which gripped the French capital and cities across France.
In their first visit to the country as King and Queen, Charles, 76, and Camilla, 74, dividing their time between Paris and Bordeaux.
As well as tonight’s star-studded dinner, Charles and Camilla have 21 high-profile engagements to look forward to in just three days.
The most important item on Charles’s itinerary is likely to be his address the French senate, the first by a British royal in which he will speak in both English and French.
– English Audio Description
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