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At its Max streaming event earlier this year, Warner Bros. Discovery confirmed a new era is coming for Harry Potter fans. The company announced a TV series based on all seven books about the boy wizard written by J.K. Rowling. See below for the most current answers to the most important questions about the project.

What is the Harry Potter TV series about?

“This new Max Original series will dive deep into each of the iconic books that fans have continued to enjoy for all of these years,” said Casey Bloys, Chairman and CEO, HBO & Max Content about the project, which he also assured fans would be “a faithful adaptation.”

Early reports had each season of the series focusing on one book in the Harry Potter book series, which consists of seven novels, but Bloys said the project would run for “10 consecutive years,” which would seem to defy the 1 season, 1 book assertion. For those who say Fantastic Beasts could be leveraged to provide 10 seasons over 10 years, WBD brass said specifically during the announcement that FB will not be a part of the series.

Whatever the case, Bloys promised that, as the company embarks on its new Harry Potter adventure, “We do so with the full care and craft of this franchise.”

When will the Harry Potter series be released?

The series is expected to be on air in 2025/26, and given that Warner Bros. Discovery has embarked on a high-profile revamp of its streaming service, even changing its name from HBO Max to just Max, it’s a pretty good bet the company wants Harry Potter casting his spell on users of the platform ASAP. Ditto J.K. Rowling, whose production company posted a 74% drop in profits last year.

At a Goldman Sachs conference this week, Warner Bros. Discovery CEO David Zaslav made pointed out the need for more Hogwarts magic explicitly. Ignoring the Harry-less Fantastic Beasts films, the CEO insisted the boy wizard presents a huge opportunity, claiming that the IP has been “underused” of late.

“We haven’t done anything with Harry Potter for more than a decade,” he said, before going on to note that when one examines the performance of Warner Bros. over the last 20 years without accounting for it’s big three — Potter, Lord of the Rings and DC — the company’s performance is “relatively flat.”

Zaslav called that type of big-ticket IP “one of the big differentiators of this company.” And he seems to be counting on it to make a big difference.

“When you put those franchises in, it’s the best-performing studio in the world. We need to deploy our best capital, and we need to do it with the best creative people in the world,” he said.

How to watch the series

It will, of course, be on Max once the series is ready. The service has three price tiers: Max Ad Light, which goes for $9.99 a month or $99.99 a year and allows two concurrent streams; Max Ad Free will be priced at $15.99 a month, or $149.99 a year, and will also allow two concurrent streams; and Max Ultimate Ad Free which costs $19.99 a month, or $199.99 a year, and allows access to four concurrent streams.

In addition, WBD’s other current epic literary adaptation, House of the Dragon, is available not only on the company’s streaming service, but also to cable subscribers on HBO. The Potter series will follow suit, according to execs. So if you have HBO via your cable provider, you’re all set.

If you’re in Canada, WBD has struck a multi-year licensing agreement with Crave for the likes of Harry Potter, Game of Thrones, the DC Universe and HBO content.

Which actors are starring in the series? Are any of the original Harry Potter stars returning?

There will be new actors playing the series’ main characters, but it’s unlikely anyone has been cast yet. In fact, Max’s search earlier this year was centered on finding a showrunner.

“We have been trying to be very close to the vest,” said Bloys. “We haven’t gone out to agencies. We have our own internal process where we’ve been thinking about people but we have not wanted to go out into the world. Now that the news is out there…we’ll start going out to the business.”

As for a return of any of the film franchise’s stars — like Daniel Radcliffe, Emma Watson or Rupert Grint — never say never. It would certainly be a PR boost for the series and, while new actors will be cast in the primary roles, there are always flashforwards or the currently en vogue multiverse plot ploy that could create space for more familiar faces in the series.

But Daniel Radcliffe has said he is fine with sitting on the sidelines.

“My understanding is that they’re trying to very much start fresh and I’m sure whoever is making them will want to make their own mark on it and probably not want to have to figure out how to get old Harry to cameo in this somewhere,” Radcliffe told ComicBook.com. “So I’m definitely not seeking it out in any way. But I do wish them, obviously, all the luck in the world and I’m very excited to have that torch passed. But I don’t think it needs me to physically pass it.”

Another longtime Potter player who likely won’t be involved is David Yates, who directed the last four movies, Harry Potter and the Order of the Phoenix (2007), Harry Potter and the Half-Blood Prince (2009) and Deathly Hallows Part One and Two (2010 and 2011). In addition, Yates took on the Potter spinoff Fantastic Beasts trilogy. He says there has been no conversation about his involvement with the series. And it sounds like he’s ok with that.

“Huge affection and a lovely group of people I worked with,” Yates told Deadline. “But we haven’t had a conversation since we finished it.”

“It’s been about ‘Let’s just park it, and be done for a while,’” he said of the Potter franchise.

“Never say never, I would say, but I’m excited about moving on,” he said.

Will J.K. Rowling be involved in the new Harry Potter TV series?

Yes. A deal for J.K. Rowling’s involvement in the series had been the biggest hurdle in its path to the screen: The author has creative control over any exploitation of her work. That agreement has now been finalized.

Rowling and longtime confederates Neil Blair and Ruth Kenley-Letts are exec producing. David Heyman, who developed the films, was talks to do the same. Rowling’s Brontë Film and TV is producing with Warner Bros. Television. Brontë Film and TV was founded by Rowling and her literary agent, Neil Blair, in 2012.

“Max’s commitment to preserving the integrity of my books is important to me, and I’m looking forward to being part of this new adaptation which will allow for a degree of depth and detail only afforded by a long form television series,” said Rowling in a statement.

Since Warners launched its streaming service, there’s always been a goal to exploit Warners’ biggest franchise for streaming. Warner Bros Discovery CEO David Zaslav, taking the reigns after the merger last year, met with Rowling several times in the UK. He’s even spoken up in support of the author, who has been involved in an ongoing controversy over her comments on transgender issues. Asked about the streaming event about those controversies, Bloys demurred.

“No, I don’t think this is the forum [to discuss that],” he said. “That’s a very online conversation, very nuanced and complicated and not something we’re going to get into.”

“Our priority is what’s on the screen,” Bloys continued. “Obviously, the Harry Potter story is incredibly affirmative and positive and about love and self-acceptance. That’s our priority — what’s on screen.”

As for how close the author will be to the series, Bloys said, “[Rowling] will be involved. She’s an executive producer on the show. Her insights are going to be helpful on that.”

He was clear, however, that WBD wasn’t entirely dependent on Rowling for the project.

“The TV show is new and we’re excited about that. But, remember, we’ve been in the Potter business for 20 years. This is not a new decision for us, we’re very comfortable being in the Potter business.”

How much will the series cost to produce?

“You know we make shows at this scale with House of the Dragon, Game of Thrones,” said Bloys. “I imagine will be that scale or higher. The shorter answer is whatever it takes to make a quality show.”

Per Deadline reporting, House of the Dragon cost nearly $200 million and was the subject of HBO’s biggest marketing campaign ever, valued at over $100M in media spend (that’s a combo of ad spot value and hard cash shelled out). So fans can expect a similar outlay for the Potter series “or higher,” according to HBO/Max boss Bloys.

Will there be other Harry Potter-related projects?

“We’re free to do anything we want,” Zaslav said, before hedging a bit. “Some areas we need to do with J.K., other areas we have the full ability to go forward. This is a full deployment on Max of Harry Potter. We can still develop other properties.”

It’s unclear where those boundaries lie, but it is clear that Warner Bros. Discovery would like more Potter. Since he took control of the merged company, Zaslav has stressed multiple times his focus on franchises, with mining the Harry Potter IP identified as a top priority.

How long has this been in the works?

Max and its then-parent company WarnerMedia started exploring a potential Harry Potter TV series a couple of years ago. At the time, Warner Bros. appointed Kids, Young Adult and Classics president Tom Ascheim to manage the Wizarding World and Potter franchises, which include theme parks, tours and the $9.1 billion-grossing theatrical library that spans the Harry Potter and spinoff Fantastic Beasts titles. Under that setup, Ascheim became WarnerMedia’s senior rep in its relationship with Rowling and her representatives, and exploratory conversations for a Max series got underway.

After the Discovery acquisition was completed a year ago, that unit was disbanded and Ascheim exited the company. However, the importance of the Harry Potter IP has only grown post-merger.

Zaslav spoke about his family’s own personal connection to the series.

“My wife and I, we read (the Harry Potter books) to each of our three kids,” said Zaslav, going off script at the Max announcement. “It’s really moving, for ten consecutive years, people will see Harry Potter on HBO; I mean it’s really something.”

RELATED NEWS:

‘Harry Potter’ Series Starts Search For Showrunner

‘Harry Potter’ Series A Go With J.K. Rowling Executive Producing, Set For 10-Year Run On Max

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At its Max streaming event earlier this

Movies

First things first, we have to know, why Neighbours? How did that come about and what drew you to the project?

Mischa: Well, this new series is very different, it’s not the long-running Neighbours that was on for 40 years. Honestly, they’ve approached me in the past, but now that the series is rebooting, it just felt like the right time. I liked the role of Reece Sinclair when I read it; it felt like something I could sink my teeth into and play. It was just a nice opportunity to go and do this arc for the couple of months that I was out there in Australia. They were very nice to me!

Awesome! Can you tell us a little bit about your character Reece?

Mischa: Well, she comes from the wealthy Sinclair family and is supposedly in Australia as a representative for her father’s businesses. However, you soon find out she also has an ulterior motive for being there. She’s the eldest child, a hard worker, but she’s distracted easily, especially by love. She soon meets somebody when she gets to Ramsay Street that sort of takes her for a ride for a minute.

Sounds intriguing, can’t wait to find out more! So, shall we play a little game of Confirm or Deny?

Mischa: Sure, let’s do it!

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First things first,

DCU

Summary

  • R2-D2’s true combat abilities are revealed, highlighting his status as a formidable warrior in the galaxy.
  • The Scourge uncloaks R2-D2’s latent ferocity, challenging preconceived notions about the bond between R2-D2 and C-3PO.
  • R2-D2’s silent valor and military prowess have been instrumental in altering the galaxy’s course, making him a beacon of hope and resilience.


Warning: SPOILERS ahead for Star Wars: Dark Droids #2

The Star Wars saga embarks on yet another thrilling revelation, redefining the mettle of one of its seemingly understated heroes – R2-D2. Often perceived as a beacon of heartwarming robotic camaraderie, this diminutive astromech is on the verge of being acknowledged as a force not to be underestimated. In a recent gripping installment of Marvel’s Dark Droids series, aficionados of the epic tale are greeted with an affirmation that the stature of R2-D2 extends beyond the affable droid that graced our screens for decades; he is, undeniably, a formidable warrior whose prowess could eclipse the might of many in the galaxy.

With the release of Star Wars: Dark Droids #2, crafted meticulously by the seasoned hands of Charles Soule, Luke Ross, Alex Sinclair, and Travis Lanham, readers traverse a sinister plot woven by the malevolent Scourge. This nefarious entity, insistent on engulfing mechanical life in the galaxy, uncloaks an aspect of R2-D2 that perhaps only his golden counterpart, C-3PO, could fathom as per Screen Rant.

Marvel Comics

In a spine-chilling turn of events, C-3PO is ensnared by the Scourge, unleashing a turbulent voyage that challenges our preconceived notions about the bonds and strengths that exist between these two cherished droids. It is through this malicious entity, masked as Threepio, that we witness a raw acknowledgment of Artoo’s latent ferocity. A chilling declaration, “I need to be careful…This one is a warrior,” lays bare the underbelly of a legacy that transcends mere robotic servitude. R2-D2 emerges as a sentinel of undeterred valor, a battle-hardened veteran whose narrative has quietly embroidered itself into the very fabric of the galactic struggles depicted throughout the Skywalker Saga.

Star Wars - Dark Droids
Marvel Comics

RELATED: Why Star Wars’ R2-D2 and C-3PO Deserve a Comedy Series


The Silent Valor of R2-D2: A Legacy of Resilience and Unmatched Courage

star-wars-r2-d2-droid
Lucasfilm

The chronicles of R2-D2 reverberate with tales of undying loyalty and unmatched courage. This diminutive dynamo has not only orchestrated critical moments that have altered the galaxy’s course but has proven himself as a seasoned veteran of warfare, standing resolute beside luminaries like Anakin Skywalker during the gruesome Clone Wars, and later, championing the Rebel Alliance’s cause with Luke Skywalker. An unsung hero, whose feats have perennially teetered between the realms of victory and defeat, Artoo’s military prowess and agility have afforded the galaxy moments of respite and triumph in the face of insurmountable odds.

As the Scourge scurries to eliminate what it perceives as a significant threat, it unwittingly elevates R2-D2’s status to a warrior whose reputation rivals that of legendary figures like Yoda or Luke Skywalker. While the enigmatic droid has often filled the role of a lovable sidekick, bringing moments of levity and companionship to an otherwise brutal galactic warfare, it stands to reason that his contribution spans beyond the effervescent chirps and comedic interludes.

Artoo’s odyssey has been one of silent valor, a beacon of resilience that has unfailingly lit the path for the franchise’s celebrated heroes. In a galaxy fraught with dangers lurking at every corner, the recent revelation posits R2-D2 as a bastion of hope, a relentless warrior whose depth of character is only now beginning to unfurl in its full, formidable glory.

Thus, as the pages of Star Wars: Dark Droids #2 unfurl, we stand at the cusp of a revolutionary shift, a moment where the veils are lifted, and the true magnitude of R2-D2’s prowess becomes an undisputed testament to his legacy. A legacy that affirms that in the vast cosmos of Star Wars, even the smallest beings can cast the most colossal shadows.

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Summary R2-D2's true combat abilities

Comics

It didn’t take long to learn Panos Panay’s new home. The industry veteran, instrumental in developing Windows 11 and the Microsoft Surface line of 2-in-1s and laptops, has reportedly been hired by Amazon, according to Bloomberg. Microsoft’s former chief product officer will lead Amazon’s division responsible for Alexa and Echo smart devices.

Panay will replace Dave Limp, the Amazon executive previously in charge of Alexa and Echo, who announced his retirement last month. Panay’s move from one Seattle-based tech giant to another will have him overseeing a division hit by layoffs last year. Ironically, Amazon and Microsoft each have fall hardware events scheduled this week.

Microsoft brought on Panay in 2004 as a group program manager. He oversaw the development of Surface devices during their formative years, where he became an event mainstay with his passionate and detailed product launch keynotes. He was promoted in 2018 to chief product officer before landing his last Microsoft position as executive vice president in 2021. Panay said he “decided to turn the page and write the next chapter.” Yusuf Mehdi will replace him as Microsoft’s head of Windows and Surface teams.

We reached out to Amazon for comment and confirmation, and we’ll update this article when we hear something.

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It didn’t take long to learn Panos

Festivals

 

2023 Best Canadian Feature Film Award, Amplify Voices Awards, Short Cuts Awards, Changemaker Award, People’s Choice Awards, along with FIPRESCI and NETPAC film jury awards, close the Festival

The Toronto International Film Festival® ― which concluded last evening with the Closing Night screening of Thom Zimny’s Sly at the Visa Screening Room at the Princess of Wales Theatre and Roy Thomson Hall ―  has announced its award recipients for the 48th edition of the Festival.

“We’re grateful to all the audience members, artists, industry professionals, and supporters who graced Toronto’s cinemas, red carpets, meeting spaces, and streets,” said Cameron Bailey, TIFF CEO. “As we recognize award winners today, we thank everyone who contributed to this glorious, collective gift.”

“From the most revered veterans to the freshest new voices, this year’s Festival played host to the diverse range of filmmakers Toronto is known for,” said Anita Lee, TIFF Chief Programming Officer. “And Toronto’s filmgoers turned up in huge numbers to be a part of the celebration. We’re grateful to our film jurors for their invaluable contributions, for championing emerging talent, and for enriching the film community with their expertise and passion.”

SHORT CUTS AWARDS

Short Cuts Awards are for Best Film, Best Canadian Film, and the Share Her Journey Award for best film by a woman. Each winning film will receive a bursary of $10,000 CAD. The winners of the three awards are: 

Short Cuts Award for Best Film: Electra, dir. Daria Kashcheeva
Jury’s statement: “Singular and accomplished, this sickly sweet nightmare of a film packs a mighty final punch. Visceral and infinitely textured, it leads us down a contorted rabbit hole with thematic and visual prowess. With great pleasure, the jury presents the Short Cuts Award for Best Short Film to Electra, directed by Daria Kashcheeva. Electra resonates with under-the-skin discomfort long after the film is over.”

Short Cuts Award for Best Canadian Film: Motherland, dir. Jasmin Mozaffari
Jury’s statement: “Displaying great mastery of craft, this incredibly ambitious film excels in its direction, performances, sound, and picture, with every frame exhibiting love and intention. The jury is pleased to present the Short Cuts Award for Best Canadian Short Film to Motherland directed by Jasmin Mozaffari. The film left us with one word collectively: wow.”

Share Her Journey Award: Shé (Snake), dir. Renee Zhan
Jury’s statement: “For this film’s incredibly original and surreal creativity, which is matched with beautiful acting, the jury is thrilled to give the Short Cuts Share Her Journey Award to Renee Zhan for Shé (Snake). It’s not common to be bewitched by grotesque creatures in a film, but here they captured the hearts of the audience thanks to their humour and charm.”

Honourable Mention: Gaby’s Hills, dir. Zoé Pelchat
Jury’s statement: “Featuring an ensemble cast with incredible organic chemistry, Gaby’s Hills delivered a moving portrayal of a girl in puberty returning home to find her womanhood reflected back to her in the community. Carefully crafted with layered themes, the jury is delighted to present an honourable mention for the Short Cuts Share Her Journey Award to Gaby’s Hills, directed by Zoé Pelchat.”

The 2023 jurors for the Short Cuts Awards are Aisha Jamal, Araya Mengesha, and Shasha Nakhai. 

NETPAC AWARD

The 2023 NETPAC jury members include: Sung Moon, Haolun Shu, and Lalita Krishna.

TIFF is delighted to announce that the 2023 NETPAC Jury has selected Jayant Digambar Somalkar’s A Match as this year’s NETPAC winner. 

The 2023 NETPAC jury released the following statement: “First, the jury would like to express how impressed they were by the strong films in this category, which covered a range of social issues using diverse artistic styles. The jury gives an honourable mention to Mimang, where director Kim Taeyang created a lyrical tale through visuals of a changing city that perfectly captured the longing of its protagonists. The NETPAC award was instituted to promote Asian cinema and to bring international attention to independent and non-mainstream films focusing on the discovery of new talent. The jury commends the courage of this year’s winner, a first time feature director, for taking a risk and delivering a story that is enlightening and entertaining. The director worked with a cast of non-actors that not only resulted in a stellar performance, but achieved a level of authenticity needed to drive home the social message. An immersive portrayal of life in an Indian village, highlighting its oppressive patriarchal customs, the NETPAC award this year goes to A Match by Jayant Digambar Somalkar.”

FIPRESCI PRIZE

The 2023 FIPRESCI jury members include: Cem Altinsaray, Elijah Baron, Jindřiška Bláhová, Diego Faraone,
and Jenni Zylka.

The jury is delighted to announce Seagrass, dir. Meredith Hama-Brown, as this year’s FIPRESCI winner.

The 2023 FIPRESCI jury released the following statement: “A married couple in crisis seems willing to give what is usually the last resource to save its bond: couples therapy, while they’re having a vacation at the Pacific coast together with their two daughters. Their contact with other couples is an inevitable temptation and a fire test. Meanwhile, their daughters confront the world, their fears, puberty — and the ghosts of unresolved conflicts of their parents. This intimate, endearing, and wonderfully framed first feature film by young Canadian actor and director Meredith Hama-Brown skillfully deals with subjects like masculinity, family taboos, motherhood, and structural anti-Asian racism. Hama-Brown carefully stages her convincing actors, especially the young ones, and even gives life to a tender relationship between a little girl and a ball.
We are happy to honour the film Seagrass with the International Critics Prize (FIPRESCI Prize) at TIFF 2023.”

AMPLIFY VOICES AWARDS PRESENTED BY CANADA GOOSE 

This year, Canada Goose will again present the Amplify Voices Awards to under-represented filmmakers in Canada. Feature films in Official Selection by Canadian BIPOC filmmakers are eligible for the Best Feature and Best First Feature Award. The Amplify Voices Award will also celebrate a Canadian BIPOC trailblazer, recognizing a producer who has made significant contributions to the Canadian film landscape. The three winners will receive a cash prize of $10,000 each, made possible by Canada Goose.

The three Amplify Voices Awards presented by Canada Goose winners are:

Amplify Voices Award – Best BIPOC Canadian Feature: Kanaval, dir. Henri Pardo
Jury’s statement: “There has never been a Canadian film that captures both magical realism and post-colonial trauma in such a beautiful, poetic, and convincing way. Seamless in the way the story has been weaved together, this film refuses to follow a linear storyline, understanding intimately how the past and future always exist in the present, and lifting centuries-old legacies into the cinema. Centered around the powerful and awe-inducing performance of newcomer Rayan Dieudonné, this film is an honest ode to the immigrant experience. The jury celebrates Kanaval and the singular cinematic talent of Henri Pardo.”

Amplify Voices Award for Best BIPOC Canadian First Feature Award: Tautuktavuk (What We See), dirs. Carol Kunnuk, Lucy Tulugarjuk
Jury’s statement: “Through powerful self-representation, this story honours rituals that have been and rituals that are made anew, reflecting a rare purity in its filmmaking approach. The makers of this film powerfully capture truth in its most unadorned form, turning the camera inward to both look at and listen to themselves and their community, placing trust in and honouring the authenticity of their voices. The jury celebrates the co-directors of Tautuktavuk, Carol Kunnuk and Lucy Tulugarjuk, for their work in powerfully navigating difficult and necessary conversations from a place of unapologetic ownership and unwavering communal care.”

The 2023 jurors for the Amplify Voices Awards presented by Canada Goose are V.T. Nayani, Nisha Pahuja, and Ricardo Acosta.

The Amplify Voices Award also celebrates a Canadian BIPOC Trailblazer, recognizing a producer who has made significant contributions to the Canadian film landscape. 

The 2023 Amplify Voices Trailblazer Award was presented to Damon D’Oliveira, producer.  

Damon is a veteran producer responsible for bringing to screen some of Canada’s most critically and commercially successful films and television (Brother, Rude, The Grizzlies, The Book of Negroes, and Wildhood). An early champion of diversity, equity, and inclusion both in front and behind the camera, Damon’s career has focused on producing content that centered underrepresented, racialized, and 2SLGBTQ+ voices. His latest film, Brother, directed by Clement Virgo, had its World Premiere at TIFF 2022 to strong critical acclaim and has been invited to a number of additional festivals including the Busan Film Festival, Sao Paulo Film Festival, and in Competition at the BFI London, Gothenburg, and Tromsø Film Festivals.

BEST CANADIAN FEATURE FILM AWARD

The 2023 Best Canadian Feature jury members include: V.T. Nayani, Susan Maggi, and Ricardo Acosta. TIFF is delighted to announce that the 2023 Jury has selected Solo, dir. Sophie Dupuis as this year’s Best Canadian Feature Film.

Jury’s statement: “Sophie Dupuis’s Solo is a specifically intimate and deeply affecting film, full of palpable care and honesty. Whatever your entry point to this film, there is a place for you as part of a larger story and conversation, which is more critical than ever. This coming-of-age narrative is ultimately a film about family, both blood and chosen, and the complications and beauties of both. And it is a story of love, in all of its iterations, of how it can both fail us and set us free.”

BEST CANADIAN FEATURE FILM AWARD HONORABLE MENTION: Kanaval, dir. Henri Pardo
Jury’s statement: “There has never been a Canadian film that captures both magical realism and post-colonial trauma through the singular lens of a young child, in such a beautiful, poetic, and convincing way. The jury is pleased to award an Honorable Mention to Henri Pardo’s Kanaval.”

CHANGEMAKER AWARD 

The Changemaker Award is presented to a Festival film that explores issues relevant to young people and is focused on themes of social change and youth empowerment. The award embraces the power in young people seeing their communities represented on screen and celebrates the next generation of storytellers and changemakers in cinema. The winning film comes with a $10,000 CAD prize, and is selected by TIFF’s Next Wave Committee, a group of young film lovers who recognize cinema’s power to transform the world. 

The 2023 jurors for the Changemaker Award are members of TIFF’s Next Wave Committee: Maggie Kane, Linc Guo, Serena Hao, Roni Harel Haber, Ray Wu, Naiya Forrester, Maya Al-Arami, Sara Rana, Daniel Leplae, Tara Sidhu, Tafadzwa Mangwiro, and Elizabeth Albrecht. 

The 2023 Changemaker Award is presented to We Grown Now, dir. Minhal Baig.

Minhal Baig offered this statement: “Thank you so much to the Next Wave Committee in recognizing We Grown Now for the Changemaker Award. When I first began interviewing former Cabrini-Green residents years ago, I was deeply moved and surprised by the experiences they shared with me. They spoke both of the challenges and joys of life in a public housing project. It was essential in making the film that we embrace that reality and present the high rises through the lens of children who called it home. Though the high rises have long since been demolished, Cabrini-Green remains an indelible part of the history of Chicago and public housing in America, and I hope the film sparks meaningful cultural conversation. I am beyond honoured that the Next Wave Committee has recognized the film and the importance of its social issues.”

TIFF’s Next Wave Committee provided this statement: “We Grown Now offers a compelling depiction of family and friendship within the backdrop of Chicago’s public housing project, Cabrini-Green. Frequently shadowed by the stereotypes of drugs, violence, and crime, this film strives to break the mold. Minhal dedicated a significant amount of time to connect with former residents of the now-demolished homes to learn their stories. The result is a profound and significant story of boyhood innocence and hope, and the struggle two young friends face as they grapple with the possibility of saying goodbye to each other. We were able to connect with this film because we saw friends and family in it, the struggles they face everyday, and the parts of their lives we may never personally know. We believe in the self-discovery and power that comes from seeing your community represented in film. We know how dedicated Minhal is to tell stories that matter and that mean something to those they are about, and we hope that this award will aid her in her journey forward.”

PLATFORM AWARD 

The Platform Award is an award of $20,000 CAD given to the best film in the programme, selected by an in-person international jury. This year’s jury members are: Barry Jenkins, Nadine Labaki, and Anthony Shim.

The 2023 Platform Award is awarded to: Dear Jassi, dir. Tarsem Singh Dhandwar.

The Platform Jury released this statement: “Dear Jassi was a unanimous choice for this year’s Platform Award for its honest and poignant portrayal of a subject matter that still affects large portions of individuals forced to live under the inhumanity of bitter caste systems throughout the globe. The film has the perfect blend of craft, purpose, and faith in its audience, creating a world that is both richly cinematic and steadfastly realistic. The young leads, Yugam Sood and Pavia Sidhu, are by turns breathtaking and, in performances that pull no punches, heartbreaking. Altogether an emphatic work by director Tarsem Singh Dhandwar and his many wonderful collaborators; a film that would be worthy of accolades in any section and which we enthusiastically welcome into the pantheon of winners in this Platform section.”

PEOPLE’S CHOICE AWARD

For the 47th year, the People’s Choice Awards distinguish the audience’s top title at the Festival as voted by the viewing public. All films in TIFF’s Official Selection were eligible. 

The TIFF 2023 People’s Choice Midnight Madness Award winner is Dicks: The Musical dir. Larry Charles.
The first runner-up is Kill dir. Nikhil Nagesh Bhat.
The second runner-up is Hell of a Summer dirs. Finn Wolfhard, Billy Bryk.

The TIFF 2023 People’s Choice Documentary Award winner is Mr. Dressup: The Magic of Make-Believe dir. Robert McCallum. 
The first runner-up is Summer Qamp dir. Jen Markowitz.
The second runner-up is Mountain Queen: The Summits of Lhakpa Sherpa dir. Lucy Walker.

The TIFF 2023 People’s Choice Award winner is: American Fiction dir. Cord Jefferson.
The first runner-up is The Holdovers dir. Alexander Payne. 
The second runner-up is The Boy and the Heron dir. Hayao Miyazaki.

 

 

 

 

 

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  2023 Best Canadian Feature Film Award,

Film

EXCLUSIVE: Top entertainment lawyer Craig Emanuel is leaving the Century City-based firm Paul Hastings where he has been a partner and global chair of the Entertainment and Media division. After practicing as an attorney for more than 42 years, Emanuel is retiring from legal practice to focus on working as an advisor to his longtime client, Ryan Murphy, and his Ryan Murphy Productions.

Murphy has been a client of Emanuel’s for his entire Hollywood career; Emanuel signed the then-aspiring writer in 1996, before he had sold his first script, “Why Can’t I Be Audrey Hepburn?,” to Steven Spielberg, and before he launched a hugely successful TV career with his first series, the 1999 Popular.

Emanuel’s clients will remain at Paul Hastings and move forward with Erik Hyman, current co-chair of the firm’s Entertainment and Media division, who has worked with Emanuel for more than 25 years.

In addition to Murphy, Emanuel’s clients have included Tom Hanks and Gary Goetzman’s Playtone, filmmaker Robert Rodriguez, writer Tony Gilroy, Mandalay Pictures and MSG Entertainment.

Murphy and Emanuel have developed a close relationship over the years.

“He was one of the very first, if not the first, people to believe I could be something,” Murphy said in a Variety profile of Emanuel earlier this year. “His belief in me and what I could accomplish has always been very moving and important.”

Emanuel was by Murphy’s side as his career took off with a string of hits, including Nip/Tuck, Glee, the American Horror Story franchise and its many offshoots as well as the popular 9-1-1 procedurals. Emanuel’s arrival as advisor comes ahead of a major change for Murphy who is expected to set up shop at Disney after the WGA strike in another mega deal for his Ryan Murphy Productions which had been based at Netflix and will continue to produce followups to recent hits Monster: The Jeffrey Dahmer Story and The Watcher.

Aussie Emanuel started his Hollywood career at the then-newly open West Coast office of Nigel Sinclair’s Sinclair Tenenbaum. He went on to spend 20 years as partner at Loeb & Loeb. He then moved to Paul Hastings where he has been for the past five and a half years.

However, in the same Variety profile, Emanuel admitted that there was a moment about seven years ago when he pondered departing the legal arena “for something else.”

There have been a handful of other instances of a top showrunner and their longtime representative evolving their professional relationship, most notably top lit agent Bob Broder leaving ICM in 2012 to run the company of Chuck Lorre.

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EXCLUSIVE: Top entertainment lawyer Craig Emanuel is

TV

Drake and Halle Berry aren’t on good terms right now—that is, if rumors can be believed. The two appear to be feuding over the rapper’s decision to use an old photograph of the Catwoman star getting slimed at the 2012 Nickelodeon Kids’ Choice Awards as the cover art for his new single, “Slime You Out.” Drake, for his part, hasn’t addressed the rumored beef yet. And it feels strange to witness the two develop bad blood in real time when Drake’s admiration for the actor has been so well-documented over the years. But Berry clearly isn’t happy about the situation and she’s not holding back about how she feels on Instagram.

Here’s how it all started.

Drake is a longtime fan of Berry.

Drake’s love for Berry previously went so deep that he name-checked the actor on the verse he wrote for “Versace (Remix),” the 2013 collaboration he did with Migos. “Take a famous girl out where there’s no paparazzi/I’m tryna give Halle Berry a baby and no one can stop me,” the Grammy winner can be heard rapping on the track.

In 2019, Drake took his public thirst a step further by wearing a leather jacket featuring an airbrushed portrait of Jinx Johnson, Berry’s character from the James Bond film Die Another Day.

Less than a month later, Berry repped the rapper by sporting a shirt emblazoned with the lyrics “Here for a good time not a long time” on Instagram. “Wayy up I feel blessed,” she captioned the post, alluding to Drake’s song “Blessings.”

Drake dropped the single on Friday.

On September 15, Drake dropped “Slime You Out,” the lead single from his forthcoming album, For All the Dogs. The track features SZA and both artists promoted the new project by sharing the cover art on their respective Instagram accounts. The cover art in question is an 11-year-old photo of Halle Berry getting slimed at the 2012 Nickelodeon Kids’ Choice Awards. The original image from the awards show is pictured below.

Christopher Polk/KCA2012/Getty Images

Berry responded with a post (and several comments) of her own.

Shortly after the song’s release, Berry shared an Instagram post with the words “Sometimes you have to be the bigger guy… even if you’re a woman!” printed on a solid pink background. Initially, Berry didn’t mention the rapper by name. But when a follower asked for her thoughts on the Drake situation in the comments, she didn’t hesitate to spill the tea.

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Drake and Halle Berry aren't on good

What to Watch

A lot has been made of Prince Harry’s broken relationship with his father King Charles III and the rest of the royal family, particularly in the past year with his tell-all memoir Spare and his and his wife’s Netflix docuseries Harry & Meghan. But the fact remains that Meghan Markle also remains estranged from her father and his side of the family. Thomas Markle has been begging his daughter for years to let him back in her life, and he recently issued another plea to let him meet his grandchildren before he dies, calling the Sussexes’ actions against him and the king “cruel.”

Just before Prince Harry and Meghan Markle got married  in 2018, Thomas Markle was accused of staging photos for paparazzi, causing a rift in their relationship that has yet to be repaired. Now he wants to “put the past behind” them, he told Good Morning Britain in what the anchors said was possibly his final interview, as he begged to be allowed to meet 4-year-old Archie and 2-year-old Lilibet. Thomas said: 

I’m very upset … because this is a cruel thing to do to a grandparent. Not just me, to the king in England as well. Denied the right to see a grandchild.

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A lot has been made of Prince

Awards

As Drew Barrymore and Bill Maher reverse their decisions to return to their talk shows, Sherri Shepherd is gearing up for her return.

Sherri premiered its second season today, Monday September 18 and Shepherd addressed the writers and actors strikes on her first show back.

Shepherd pointed out the difference between her show and others: it has never employed any WGA writers.

“This summer you all may have seen your favorite actors and Hollywood stars have been on the picket lines with the SAG-AFTRA and WGA strikes. There has been so much confusion about who can work and who can’t work. Well, I’m a SAG-AFTRA actress and I actually marched with some of my colleagues while in Los Angeles recently. That’s me with Viola Davis, Niecy Nash,” she said. “But here’s the thing, talk shows in general fall under a different union contract code, so we’re allowed to come back unless you’re a WGA show. The Sherri show is not a WGA show and we have never employed WGA writers, so us coming back to work isn’t crossing the picket line.”

She highlighted that she writes the jokes on her show and it is her “comedic take on the headlines”.

Shepherd empathized with those writers and actors striking. “My heart is breaking for all of the people that can’t work right now and I hope our industry can get this strike resolved soon,” she added. “I stand in solidarity with my union. One of the things that we’re fighting for is better residuals. … residuals during times that I was not working kept the lights on. My residual payments helped me care for Jeffrey when he was born at 25 weeks. So good residual payments are important to actors.”

The host also highlighted the issue of artificial intelligence. “The big sticking point is artificial intelligence – which could replace working actors from working. And it could replace writers. I’m here to tell you, AI can’t replace all of this sass.”

The show comes from Lionsgate’s Debmar-Mercury and is anchored by Fox Television Stations as well as stations belonging to Cox, Hearst, Sinclair, Nexstar and others. It took the place of The Wendy Williams Show and is filmed before a live studio audience in New York’s Chelsea Studios.

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As Drew Barrymore and Bill Maher reverse

Music

If there’s one artist who is having a great year, it’s Kelsea Ballerini. The pop-country crooner has been all over the news in 2023 and rightfully so.

Despite her messy divorce and being hit by a flying object at her concert, Ballerini is frankly living her dream. Given that she had previously been on tour with the Jonas Brothers, she’s already living my dream.

That’s why I’m so excited to spotlight one of her recent interviews and this time, it was with The Messenger. Ballerini talked openly in the interview and gave her insights and feelings about a lot of different topics.

If you’re a Kelsea Ballerini fan, then you’ll enjoy some of these tidbits shared in this interview so let’s break it down.

Kelsea Ballerini spills the tea in an interview with The Messenger!

Let’s start with the biggest tea first and that’s Kelsea Ballerini’s relationship with Chase Stokes amidst the fallout of her messy divorce. If you’re not caught up, Ballerini was married to Morgan Evans, and the two divorced in 2022 which resulted in songs written about each other and Kelsea’s wildly successful EP. Since then, she’s moved on with Chase Stokes and the two are adorable.

In her interview, she talked about sharing a video with her bestie before going out with Stokes for the first time. While she did get some backlash from people, the video was fun and shared the nerves of going out with someone new and it made sense. Her quote sums it all up: “I posted it because I feel like that was the next part of the story that I got to share on the re-release of the album.” I mean how can you be mad at that?!

Another recent development for Ballerini is that she’s now the first celebrity ambassador for the Original Donut Shop coffee. In her interview, she talked about how it makes her feel connected to her grandmother and how she was an early coffee drinker: “My parents didn’t let me drink coffee yet, [but] my grandma did. She would make me a cup of coffee…But it felt so special because it was this memory that I had with her, and it was our little thing.” I feel like all of us can relate to that as we usually have a special memory associated with someone.

That’s just a look at part one of the two-part interview the Messenger did with Kelsea Ballerini as she tackled something very important in the second part. She talked about people throwing objects at performers. I’m sure all of us recall when she was hit with a bracelet recently while Bebe Rexha was hit with a cell phone. Most recently, Nick Jonas was hit by a bracelet while performing with his brothers on The Tour.

Frankly, it’s getting out of control and Ballerini spoke about that: “I think either the fan wants the artist’s attention or there’s a trend happening that’s getting a lot of pickup and [going viral] and a person, I wouldn’t say a fan, a person that’s in the crowd wants that. Either way, not safe.” All in all, I have to agree with KB as I feel like there is nothing fun or smart about doing this yet it keeps happening.

Either way, I enjoy Kelsea Ballerini and I’m happy I was able to spotlight this interview because she talked very openly and candidly. She seems like such a genuine person and I’d love to sit down and have a cup of coffee with her. I’d like to thank The Messenger for reaching out to me and putting this on my radar

What do you think of this two-part interview with Kelsea Ballerini? Were you surprised by anything you learned? Let us know in the comments! 

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If there’s one artist who is

Docs

TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! Ezra is a kid with autism, and his parents, Max and Jenna (played by real-life couple Bobby Cannavale and Rose Byrne), struggle to raise him separately since they have very different ideas about what Ezra needs. Jenna is in a new relationship, but Max is a struggling comedian who now lives with his father, Stan (Robert De Niro). When Ezra gets expelled from school, the couple can’t agree about what to do. Max is influenced by his father, Stan, who is very old-school and doesn’t believe in catering to Ezra’s needs by putting him in a special school and giving him medication. When Max gets a big break — being booked on Jimmy Kimmel Live! — he continues his string of bad decisions by deciding to kidnap Ezra and take him on a cross-country road trip to the taping so that Ezra won’t have to be medicated. 

Even before I saw Ezra, I took it as a good indication that the film had a pretty good script since it was able to attract a star-studded cast, including Robert De Niro, Rose Byrne, Bobby Cannavale, Vera Farmiga, Rainn Wilson, and Whoopi Goldberg.  My assumption was correct — the script by Tony Spiridakis about parents struggling to raise a kid with autism, based partly on his real-life experiences, is outstanding. It is a comedy with plenty of drama to raise the stakes. Much of the humor derives from outrageous situations, yet they are grounded in believable decisions a slightly misguided parent would make. Each major character feels fully realized and is nuanced enough that there aren’t any clear heroes or villains — just a bunch of people doing their best in a complicated world.

“…deciding to kidnap Ezra and take him on a cross-country road trip…”

But a script is one thing, and execution is another. I’m happy to say that Ezra delivers on all fronts — a top-tier script, outstanding direction by Tony Goldwyn, and a great cast led by a standout performance from William Fitzgerald, who plays Ezra. Spiridakis had been giving his friend actor/director Tony Goldwyn drafts of it for years, but when Goldwyn saw the latest version, he knew he had to direct it. If you’ve seen Oppenheimer, Tony Goldwyn plays Gordon Gray, the politician running the hearing on revoking Oppenheimer’s security clearance. He’s been directing for some time, mostly TV, but based on the strength of Ezra, I have a feeling his stock as a director is about to rise in Hollywood.

Perhaps the greatest joy of Ezra is the stellar performance of William Fitzgerald as the titular kid. He is on the autism spectrum himself, and he absolutely nails a believable performance as a kid who can infuriate a parent in one second and melt their heart in another. It takes a lot to go toe to toe with Robert De Niro, but Fitzgerald makes it look like he’s been acting for years. The kid also has great comedic timing. He’s great at the deadpan comeback, and he even gets to tell some jokes of his own. Even with everything else going for it, this film either fails or succeeds based on the title character’s performance, and William Fitzgerald knocked it out of the park. As with any child acting performance, director Tony Goldwyn also deserves a share of the credit for handling the role with sensitivity and getting exactly what was needed.

Bobby Cannavale is also outstanding as Ezra’s dad, Max. He’s believable as a stand-up comedian and as a father who is his own worst enemy. His decisions are often questionable, but Cannavale infuses the character with such passion that we believe they are at least coming from his heart. The scenes between Cannavale and Rainn Wilson, who plays a friend whose house they hide out at, are particularly funny and charming. And the scenes between Cannavale and Vera Farmiga, who plays another old friend, are equally captivating, showing a genuine warmth. There’s a depth to the character of Max that could easily have been missed in a film without a script and lead actor of this caliber.  

Ezra had its world premiere at the Toronto International Film Festival, and it received two standing ovations, one at the end of the film and another when William Fitzgerald, who played Ezra, was introduced. It has already generated a lot of buzz, so I’m sure there will be a bidding war between distributors.

Ezra screened at the 2023 Toronto International Film Festival.

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TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! Ezra

Global

After the powerful storm once known as Hurricane Lee traveled 3,000 miles across the Atlantic toward New England and Canada, where it made landfall on Saturday, the storm’s remnants have one more journey to make: to the coasts of Britain and Ireland.

The storm system will help usher in traditional autumn weather across Britain this week with cool, wind-swept rains on Tuesday and Wednesday.

The rains will be heaviest and most persistent across parts of Wales and northwest England, according to the Met Office, Britain’s national weather service. Some flooding is possible in those areas.

The rain is going to fall in areas that are used to wet weather, Alex Deakin, a Met Office meteorologist, said, but because tropical air is mixed into this storm, it will be more moist than usual. “It’s more laden, and so it’s more rain than you get in a usual low-pressure system,” he said.

Mr. Deakin said the storm was following an “unheard-of” heat spell in Britain, where temperatures were above 86 degrees Fahrenheit, or 30 degrees Celsius, for seven consecutive days ending on Sept. 10. “Off the back of that, it’s been quite a switch,” he said.

The Atlantic-dominated weather pattern is not unheard-of across Britain and Ireland.

In October 2017, the remnants of Hurricane Ophelia bore down on Britain and Ireland, where three people were killed by falling trees.

An October 1987 weather event known as the “Great Storm” brought hurricane-force winds to parts of Britain, with some gusts reaching 100 miles per hour. Eighteen people were killed in the storm, according to the Met Office. Thousands of homes were left without power for more than 24 hours and about 15 million trees were felled.

In the mid-latitudes, storm systems typically move east in an area known as the westerlies. A hurricane will form in the tropics, where the water is warm enough to give energy to a tropical system and where the steering currents are predominantly toward the west. When a hurricane turns toward the north, it will inevitably get caught up in the westerlies. This means it will head east toward Europe.

However, when a storm such as Lee moves over the colder waters of the North Atlantic, it no longer has the fuel it needs from the ocean. For the storm to maintain strength, it has to transition into a typical weather system, which gets its energy from cold air masses and warm air masses colliding. Sometimes, these storms are strong enough to support hurricane-force winds, as Lee did as it made landfall in Canada this past weekend. The storm has since weakened and as it leaves Canada behind on Monday, it will make haste, approaching Ireland and Britain on Tuesday.

Lee isn’t the only storm that could have a prevailing effect on the weather across Ireland and Britain this week. Hurricane Nigel, which is in the Central Atlantic, appears to have a track that will bring it close later in the week.

Mr. Deakin of the Met Office said that Nigel was “still quite lively and potentially going to bring us another wet, windy spell at the weekend.”

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After the powerful storm once known as

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Image Credit: David Fisher/Shutterstock

Ariana Grande and Dalton Gomez both filed for divorce from each other after two years of marriage, according to TMZ. 

The outlet reported that Ariana’s lawyer, Laura Wasser, was the first one to file on Monday, September 18. She cited the reason for their divorce as “irreconcilable differences.” Dalton filed shortly afterward. The former couple worked out everything before they officially approached the courthouse, according to the outlet. 

The date of their separation was reportedly cited as February 20. A source told the outlet that despite their split, Ariana, 30, and Dalton, 28, have “been really caring and respectful of one another every step of this process.” 

News of the pair’s divorce filing comes amid Ariana’s ongoing romance with her Wicked costar Ethan Slater. The two met in late 2022 while working on the upcoming film adaptation of the famous Broadway play. Months later, Ariana and Dalton’s marriage reportedly began to crumble, possibly due to the long distance between them as she was working on Wicked in England while he was at home in California. 

More to come …

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Image Credit: David Fisher/Shutterstock Ariana Grande and Dalton

Tech

At 24 years-old, Jason Hochberg (Fred Hechinger) is officially too old to be into summer camp. But he passes up a law internship anyway to come to Camp Pineway and be a counselor one last time. Once Jason arrives, he’s not only the oldest counselor there; he’s immediately ostracized for his childlike eagerness toward camp activities. The rest of the counselors mainly have flirting and partying in mind. 

Bobby (Billy Bryk) wants girls to like him, but he tries too hard and turns them off. Chris (Finn Wolfhard) already has a thing with Shannon (Krista Nazaire), but they’re hiding it from Bobby. Mike (D’Pharaoh Woon-A-Tai) and Demi (Pardis Saremi) are a stereotypically gorgeous couple. The rest of the teens fit easily into high-school comedy archetypes — Ezra (Matthew Finlan) is queer and loves theater, Ari (Daniel Gravelle) is the self-serious film buff, Miley (Julia Doyle) is the self-righteous vegan and Noelle (Julia Lalonde) is the goth girl obsessed with the afterlife. Despite their differences, they all have one thing in common: an immediate dislike of Jason and his earnest love of the camp.

Hell of a Summer

The Bottom Line

A shaky but endearing debut.

Venue: Toronto International Film Festival (Midnight Madness)
Cast: Fred Hechinger, Abby Quinn, Billy Bryk, Finn Wolfhard, D’Pharaoh Woon-A-Tai, Pardis Saremi, Krista Nazaire, Rosebud Baker, Adam Pally
Directors/Writers: Billy Bryk, Finn Wolfhard


1 hour 28 minutes

But Jason has an ally in Claire (Abby Quinn), who is the only girl who doesn’t find his childlike optimism off-putting. When counselors start getting picked off one by one, Claire is the only person who doesn’t suspect Jason. She obviously has a crush on him, but he’s too distracted by his love of the camp to really notice until the murders force them to work together.

Making Jason the main suspect is Hell of a Summer’s most interesting narrative decision, highlighting the stunted nature of prolonged adolescence. There are moments when he looks at the camp wistfully, realizing his time there is up. But then, right before he hits a breakthrough, he tumbles back into denial, fantasizing about working for the camp full-time instead of going to law school. Hechinger has a strange energy that makes Jason seem unpredictable enough to remain a suspect, even after showing real concern for his fellow counselors.

Wolfhard and Bryk are debuting co-writer/directors here, and it’s difficult to make a first feature. Technical issues can be unavoidable. Hell of a Summer indeed suffers from not having enough coverage, scenes not being properly lit and an editing style that has a tendency to undercut the jokes. The young cast is a bit awkward, not fully comfortable with the emotional demands required of the later scenes. But the style of humor is childishly delightful, with Bryk a standout. His journey from being frustrated that girls don’t like him to being hurt that the killer isn’t interested in him is the strongest joke in the film.

Unfortunately, the mystery of the killer fizzles out quicker than it should, even if the results are narratively satisfying. The twist is by far the most daring part of the narrative, really locking the characters into place for a fun third act. But despite the best efforts of the directors, Hell of a Summer just isn’t scary. Bryk and Wolfhard know how to tell jokes, but struggle with establishing a truly creepy atmosphere.

Hell of a Summer feels like a film made by a group of young friends, all much more interested in the experience of making it than trying to do something subversive with the story itself. The stakes are high but feel low, and many of the kills don’t get enough time or the proper framing to really sink in. And yet there’s a kindness to the film toward adolescence, in stark contrast to the slashers we know that punish teens for having a good time. Even as the kids are getting picked off here, fun still feels like the desired goal when all the trauma is over. 

The biggest problem with Hell of a Summer is that there’s really not much to say about it. Watching it is like being in a freshman film class in which the professor is asking everyone to come up with detailed notes on how to improve the film. But making a film is still an achievement in itself, paving the way for more polished work in the future. Maybe it’s enough that Hell of a Summer leaves us eagerly wondering what Bryk and Wolfhard will make next.

Full credits

Venue: Toronto International Film Festival (Midnight Madness)
Directors/Writers: Billy Bryk, Finn Wolfhard
Cast: Fred Hechinger, Abby Quinn, Billy Bryk, Finn Wolfhard, D’Pharaoh Woon-A-Tai, Pardis Saremi, Krista Nazaire, Rosebud Baker, Adam Pally
Producers: Michael Costigan, Jason Bateman, Finn Wolfhard, Billy Bryk, Jay Van Hoy, Fred Hechinger
Executive producers: Micah Green, Daniel Steinman, Sarah Hong, Kristy Neville, Drew Brennan
Co-producers: Trevor Groth, Maren Olson
Director of photography: Kristofer Bonnell
Production designer: Chareese McLaughlin
Editor: Christine Armstrong
Costume designer: Rachel Anderson
Original score: Jay McCarrol
Casting: Carmen Cuba

1 hour 28 minutes

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At 24 years-old, Jason Hochberg (Fred Hechinger)

Video

Stamped From The Beginning 

Section: TIFF Docs

Director: Roger Ross Williams

Writers: Adapted from Ibram X. Kendi’s book Stamped from the Beginning: The Definitive History of Racist Ideas in America 

Logline: Williams’ documentary adaptation uses an innovative animation process that blends live action with the art of the era to illuminate figures and moments both well-known and obscure, both historical and contemporary. Leading female academics and activists such as Dr. Angela Davis, Honorée Fanonne Jeffers, Brittany Packnett Cunningham, Dr. Jennifer L. Morgan, and Dr. Kendi guide viewers through a searing account of how racist tropes and imagery were developed and enshrined in American culture.

Distributor: Netflix

Premiere Date: Sept. 9, 2023

Panelists: Roger Ross Williams, Dr. Ibram X Kendi, Mara Brock Akil

Key Quotes: When asked about the organization of the film, Roger Ross Williams replied:

“It became about connecting the past to the present. Using popular popular music, flashing forward and backward and really having fun when we let go of strict academia,” he said. “That’s where the VFX the animation, all of that comes to play. That’s how I came up with this concept of nine lies about Black people, and the nine lies became a framework for the film.”

“I wanted the messages of the texts to be made accessible to people all over the world. I know that there’s certainly some people that will read a five to six hundred page book, but many people don’t have the time or interest,” said author Dr. Ibram X Kendi about his book. “For me to think about how you’re going to have so many more people being able to recognize ideas that they have consumed as racist, and begin to finally throw up those ideas and better connect with Black people or themselves. I knew that the film would be radically different than the book in order for the film to be great. It has to be radically different, and I trusted these filmmakers to make it so.

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Stamped From The Beginning  Section: TIFF Docs Director: Roger

Entertaintment

Panos Panay, who is exiting as Microsoft’s as chief product officer, has been hired to run Amazon’s devices group, which houses the Fire TV streaming devices, Alexa voice assistant and Echo smart speakers, Bloomberg report.

Amazon did not immediately respond to a request for comment.

In a post on social media earlier Monday, Panos wrote that he was leaving Microsoft. “After 19 incredible years at Microsoft, I’ve decided to turn the page and write the next chapter,” he wrote. “I’m forever grateful for my time at Microsoft and the amazing people I had the honor to make products with.”

At Amazon, Panay will replace Dave Limp, who has announced that he was retiring as head of hardware by the end of 2023, according to the Bloomberg article.

Panay, who first joined Microsoft in 2004, oversaw the company’s Surface line of computing devices. In 2018, he was named Microsoft’s chief product officer in 2018, where he led the development of Windows 11.

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Panos Panay, who is exiting as Microsoft’s

Movies

Celebs at the premiere of Jaane Jaan.

The premiere of Kareena Kapoor, Vijay Varma and Jaideep Ahlawat starrer Jaane Jaan was held in Mumbai on Monday night.

Vijay Varma and Tamannaah Bhatia confirmed that they are in a relationship in June this year. The couple met on the sets of Lust Stories 2 and fell in love. As the couple is head over heels for each other, it’s not unusual for ladylove Tamannaah Bhatia to be at beau Vijay’s film Jaane Jaan’s premiere. The premiere for the Sujoy Ghosh-directorial is being held in Mumbai tonight and the who’s who of Bollywood is present at the do.

Vijay, known for his eclectic style choices, look handsome in a printed, metallic suit, while Tamannaah was gorgeous as always in a strappy tea-length denim dress. She tied her hair in a top bun and accessoried the look with dainty drop earrings. The ‘it’ couple posed alongside each other and smiled for the shutterbugs.

The premiere is also being attended by Arjun Kapoor, who posed with the couple. He also hugged and greeted director Sujoy Ghosh and Vijay. He looked dapper in a blue shirt paired with black trousers. Kartik Aaryan, too, was present at the premiere. He opted for an all-black outfit. That apart, Nora Fatehi and Alaya F were also spotted. Nora looked beautiful in a printed, green shift dress with a slit and Alaya looked a white crop top with blue denims and nude pumps. Jaideep Ahlawat looked handsome in a black bandhgala.

In the film, Kareena Kapoor Khan plays a character named Maya D’Souza, who is in a troubled relationship, and her neighbour Naren, played by Jaideep Ahlawat, has suspicions about it. The trailer suggests that Naren might come across as a creepy stalker in the film. Vijay plays a police officer named Karan, who comes to Kalimpong to find Maya’s missing husband and ends up having a romantic relationship with her.

Shreyanka Mazumdar

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

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Celebs at the premiere of Jaane Jaan.The

Latest News

Rolling Stone magazine founder Jann Wenner acknowledged that his comments in a recent New York Times interview “diminished the contributions, genius and impact of Black and women artists.”

After the New York Times interview went viral, Wenner was removed from the board of directors of the Rock & Roll Hall of Fame Foundation. Late Saturday, Wenner released a statement shared with The Times on Monday concerning the backlash.

“I apologize wholeheartedly for those remarks,” he said through his publisher, Little, Brown and Company.

Wenner continued defending “The Masters” as a series of interviews that “seemed to me to best represent an idea of rock and roll’s impact on my world,” and not “the whole of music.” He added that his book does not reflect his “appreciation and admiration” for other artists.

He continued: “I totally understand the inflammatory nature of badly chosen words and deeply apologize and accept the consequences.”

Published Friday, the New York Times interview featured Wenner promoting his forthcoming book,“The Masters.” The book is a collection of interviews with the leading rock stars of the ’60s, ’70s and ’80s that includes only white men, such as Mick Jagger, Pete Townshend, Bono and Bruce Springsteen.

New York Times reporter David Marchese asked Wenner about the lack of women and Black artists featured in his book.

“The selection was not a deliberate selection,” Wenner replied. “It was kind of intuitive over the years; it just fell together that way. The people had to meet a couple criteria, but it was just kind of my personal interest and love of them.”

When asked about leaving out music greats like Madonna and Joni Mitchell, he claimed “none of them were as articulate enough on this intellectual level.”

He added: “The people I interviewed were the kind of philosophers of rock.”

On Black trailblazers like Stevie Wonder, Wenner said, “they just didn’t articulate at that level.” His comments swiftly received backlash on social media.

Wenner is a co-founder of the Rock and Hall of Fame. The organization severed ties with Wenner, but did not elaborate on the reasons for his exit.

Times staff writer Meredith Blake contributed to this report.

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Rolling Stone magazine founder Jann Wenner

MCU

Season 2 of Tom Hiddleston’s Loki will be coming earlier than previously announced.

All eyes are currently fixated on Season 2 of Disney+’s Loki, which is set to continue the story of Tom Hiddleston’s God of Mischief alongside Owen Wilson’s Mobius.

Marketing recently started to ramp up for the upcoming streaming project. A new trailer was released that highlighted Jonathan Majors as Victor Timely, and the first 10 minutes of the premiere episode were even shown to a special audience.

However, the press tour for Loki Season 2 will not include any of the show’s stars such as Hiddleston, Wilson, or Sophia Di Martino due to the ongoing Writers Guild of America (WGA) and Screen Actors Guild (SAG-AFTRA) strikes.

Loki Season 2’s New Release Date

Marvel Studios shared via X (formerly Twitter) that Season 2 of Loki will now be released on Thursday, October 5 at 9:00 p.m. ET (6:00 p.m. PT).

The show’s previous release date was Friday, October 6.

The new time that the series will come out on Thursday is also a big change from the standard 3:00 a.m. ET release format that all of the previous MCU Disney+ shows had.

The official press release for Loki Season 2 also included that all subsequent episodes of the show will be released every Thursday evening at 9:00 p.m. ET as well.

If Marvel Studios and Disney+ only release one episode for Season 2’s launch, that would mean that Episode 2 will be released on October 12, Episode 3 will hit the platform on October 19, Episode 4 will be out on October 26, Episode 5 on November 2, and the season finale (Episode 6) will be released on November 9.

Loki’s Close Encounter With The Marvels

If Marvel Studios only releases one episode on Thursday, October 6 for the premiere of Season 2 of Loki, then the season finale will hit Disney+ just one day before the official theatrical release date of The Marvels.

However, as all other films usually do, The Marvels will actually be available to watch in most theaters on Thursday night at the same exact time that the Loki finale will be coming to the streaming platform.

It seems rather odd that Marvel Studios would elect to drop two projects on the same day at around the same time, especially considering how important both Loki and The Marvels are.

An easy way around this issue would be for Marvel Studios to have a two-episode premiere for Loki Season 2, as that would mean the finale would come out on Thursday, November 2, one full week before The Marvels hits theaters.

Other Disney+ shows have done this in the past, with the most recent being Star Wars’ Ahsoka.

There has been no indication as to whether Loki will actually have a two-episode premiere, but if Marvel Studios doesn’t want it and The Marvels to overlap, that is most likely what will happen.

Season 2 of Loki will now premiere on Disney+ on Thursday, October 5 at 9 p.m. ET.

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The John Wick franchise is jam-packed, full of action and non-stop twists and turns. It has also been around since 2014. Yes, John Wick is almost 10 years old. How is that for a mind-blowing fun fact? And the result of that is that it may seem like a lot of time has passed in John Wick’s world. But actually, John Wick‘s timeline is incredibly short. Good thing Keanu Reeves has the qualities of an ageless vampire. Director Chad Stahelski officially confirmed John Wick‘s timeline and the super-short in-universe time that passes. But, he does add there’s a little room for variability.

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So how long is John Wick‘s timeline really? Speaking to Collider, Chad Stahelski shared:

Well, we figured the first three movies almost happened in like a week, week and a half, somewhere in there. That’s my version, I think Keanu’s is a little different, and I think this [Chapter 4] is like six months later. So within a year, I think it all happens. I would say almost within seven to eight months.

It’s hard to believe such a monumental franchise has unfolded in so short a time. We’ve been with John Wick for almost 10 years, but John Wick himself has only existed for a fraction of that time in his world. But that just goes to show you that a good story is a good story. We wonder what Keanu Reeves’ vision of John Wick‘s timeline looks like. But we assume it can’t be that much longer.

John Wick‘s producers Erica Lee and Basil Iwanyk also offered their take on John Wick‘s timeline. Iwanyk noted, “I think the first three are set over three weeks.” John Wick 4, meanwhile, finds its place on the timeline, “eight months later, or something like that.” According to Collider, Lee shared “the length of time had to be enough for Wick to heal from his injuries, but to still be angry at what Winston and the High Table had done to him.”

With all that in mind, John Wick: Chapter 4‘s time skip is a huge one for the franchise. More time passes between John Wick: Chapter 3 and John Wick: Chapter 4 than in all the other movies together. So we were excited to see a very evolved hero appear in John Wick‘s latest ( although potentially not final) outing.

Originally published on March 22, 2023.

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The John Wick franchise is jam-packed, full

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Microsoft has been targeting a 2028 launch window for its next Xbox console.

While its plans may have changed, the expected launch window was referenced in a May 2022 meeting attended by top company executives including CEO Satya Nadella, CFO Amy Hood, and head of gaming Phil Spencer, Axios reports.

Excerpts of a transcript of the meeting were released as part of Microsoft’s legal battle with the US Federal Trade Commission, which has been seeking to block the Xbox maker’s proposed acquisition of Activision Blizzard.

During the meeting, one Microsoft executive asked the gaming team whether the next Xbox console might move away from having fixed hardware specifications.

“One of the things consoles have been really great at is giving a very clear platform target for developers, and [Game Development Kit] has been really good at this,” said Anuj Gosalia, corporate vice president of immersive experiences.

Another question read: “Is the plan for 2028 to keep that [illegible] like model or force a Windows like flexible/capabilities like model?”

“We have already started this journey with Xbox One and Xbox One X, furthering it in Series S/X,” replied Kevin Gammill, corporate vice president of gaming ecosystems.

“We need to be even more flexible going forward with gen 10, but also provide the ability for creators to take advantage of unique hardware capabilities.”

Discussing the potential launch timing of new hardware in statements provided to the UK’s Competition and Markets Authority last year, Microsoft lawyers said “the next new generation of consoles are not expected to be released before the fall of 2028 at the very earliest”.

Microsoft and Sony both launched their current-gen consoles, Xbox Series X/S and PS5 respectively, in November 2020.

While the companies have previously introduced major upgrades to their consoles after 3-4 years on the market, current-gen supply issues caused by the Covid-19 pandemic hit adoption rates and may have impacted the timelines for any planned mid-cycle hardware refreshes.

In June, Xbox boss Spencer said a potential mid-cycle upgrade for Series X wasn’t a priority for Microsoft, and he reiterated this in interviews published last month.

“As soon as you start doing mid-gen refreshes, you’ve got a bunch of issues in front of developers, on what platform they target,” he told Eurogamer.

Spencer added: “If we get into a console world where, every two years, we now have three or four closed ecosystems that are upgrading their hardware every two years, I’m gonna wonder – how is that helping creators or players? To me it feels like we are creating a ton of complexity for creators and players in something that used to be very simple. And maybe there’s another model for us.”

He also told IGN that he believes “we’re kind of at the end of the beginning” of the current console cycle. “So I think we need to let devs settle on this hardware and get the most out of it.”

In legal documents published in July, Microsoft said it expected Sony to launch a PS5 Pro console.