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If you’ve been following along with MickeyBlog you’ll know that this weekend is the big Destination D23 event at Walt Disney World and we’ve been sharing a whole host of awesome information about what’s in the pipeline at the Disney theme parks.  This afternoon we shift our attention to the West Coast where something very exciting is happy at Disney California Adventure.  The popular Marvel Avengers Campus is going to be getting its THIRD ATTRACTION!

Disneyland Resort released an artist’s concept drawing for the upcoming new addition. Let’s take a closer look!

What we know so far is that our favorite superheroes have created a new vehicle that is capable of jumping between worlds, realities, planet Earth, and beyond! The new machine combines concepts from Tony Stark’s time suits with Xandarian jump points AND Wakandan technology. We’re told the end product will be an incredible bit of tech combining portal technology and flight capabilities to move through the skies. The end product will transport heroes to remote worlds in moments! 

So far, from what we know, this ride is giving us major Star Tours vibes but let’s wait for Disney to reveal more exciting details in the days and weeks ahead.  Disney has yet to announce an opening date for the new Avengers Campus Attraction. 

Avengers Campus

The third Avengers Campus attraction will join WEB Slingers, a Spider-Man-themed ride that has superheroes in training slinging their very own spider webs to stop menacing bots from taking over the theme park.  There is also Guardians of the Galaxy – Mission: BREAKOUT where you join Rocket on a crazy ride aboard a gantry life to rescue Gamora, Star-Lord, and the rest of the gang from The Collector! 

We are so excited to see Disney further developing its Avengers Campus concept and can’t wait to tell you more about this awesome adventure!  Readers are encouraged to keep following along with MickeyBlog for further Disneyland news and updates!

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

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

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

 

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If you’ve been

The Adam Driver-led dinosaur film 65 presents the perfect balance of action, sci-fi, and drama at a tight hour and thirty-minute runtime, making it a great popcorn flick on Netflix streaming. However, those looking to follow up 65 with more great and unique dinosaur cinema may be hard-pressed to find much more beyond the already ‘so popular everyone already knows’ Jurassic Park and Jurassic World films.

Well, don’t fret; we’ve got you covered with 10 dinosaur movies to watch if you loved Adam Driver’s 65, including action-packed features, comedies, and insightful documentaries that will all expand on the wonderfully crafted dino epic from creators Scott Beck and Bryan Woods.

10 Q: The Winged Serpent

United Film Distribution Company

While ‘Q’ is technically an ancient deity, specifically Quetzalcoatl, a winged serpent from Aztec mythology, the monster created for Q: The Winged Serpent definitely has some dino vibes going for it. What makes this ’80s movie work is seeing a giant creature terrorize New York and nabbing up unsuspecting residents.

The Larry Cohen-directed film oozes the era’s charm, including starring camp movie icons such as David Carradine and Richard Roundtree. There is also a degree of action in the movie, with a grand showdown that may not be as ‘polished’ as Adam Drivers’ 65 but should still appeal to those wanting that big conclusion to top off their monster/dino movie.

9 Dinosaurs: The Final Day with David Attenborough

Dinosaurs The Final Day with David Attenborough
BBC

Given that 65 touches on extinction, why not learn more about the event that led to the end of the age of dinosaurs with one of the best? Dinosaurs: The Final Day with David Attenborough is pretty self-explanatory as to what it covers, but this is a wonderfully insightful TV-movie documentary that highlights how the BBC working with David Attenborough is the perfect mix of engaging, informative, and visually sharp.

Related: Best Dinosaur Documentaries to Watch, Ranked

The doc also impresses with its special effects, placing Attenborough among the dinosaurs and explaining the events that occurred. However, if you want to get the best David Attenborough covering dinosaurs content, check out the series Prehistoric Planet.

8 The Dinosaur Project

Dinosaur Project
Uncork’d Entertainment

Where the film The Dinosaur Project lacks in effects mastery and a limited budget, it makes up for its inventiveness and utilizing found-footage techniques to help encounters with ancient lizards have that extra horror sting.

The movie follows a group of cryptozoologists, who, after their plane is downed by a flock of pterosaurs, find themselves in a jungle crawling with prehistoric creatures. A bit rough around the edges, The Dinosaur Project will still impress specific audiences, specifically those fascinated by the idea of possible dinosaurs still existing in the modern age. Much of director Sid Bennett’s work revolves around TV and film focusing on cryptids and his passion for the subject certainly comes across in the movie.

7 Claw

Claw (2021)
ITN Distribution

There are many modern micro-budgeted dinosaur movies, and browsing free platforms like Tubi will get you everything from The Velocipastor to Dinocroc vs. Supergator. Yet, there are a few gems in the rough if you are looking for something beyond finding that next ‘so-bad-its-good‘ movie. Claw is an excellent example of low-budget dinosaur action done right.

Two travelers find themselves stranded out in the desert and forced to spend the night on a stranger’s lot in the desert. The two have little idea what is in store for them when night begins to fall, and they find themselves fighting for their life against a velociraptor. Despite the limited budget and modest effects, Claw creates a pretty engaging story of pre-historic terror in the modern age.

6 Tammy and the T-Rex

Denise Richards in Tammy and the T-Rex (1994)
Imperial Entertainment

If you are looking for a healthy dose of absurdity lacking from 65, Tammy and the T-Rex is pure ’90s cliché comedy in the best sense. Starring Denise Richards as the titular Tammy, the film follows her relationship with her boyfriend, whose brain has been implanted into a T-Rex. What ensues is a peculiar love story full of dino mayhem and violence.

On release, the movie obtained a PG-13 rating, but this was accomplished by removing most of the gore, and those who love over-the-top violence will want to seek out the more recent ‘gore cut.’ This one may be a stretch, but with the limited amount of good dinosaur movies, this one is a lovely piece of gross-out ’90s comedy that could work as a companion piece to popping on a more serious Dinosaur film like 65.

5 Turok: Son of Stone

Turok Son of Stone
Dreamworks Classics

Many kids of a particular era grew up playing the Turok series of games on the N64 and being obsessed with the mix of modern tech (like the OP cerebral bore) and killer dinosaurs. However, not everyone knows the series was based on a long-running comic of the same name.

Related: Best Adult Cartoons, Ranked

Turok: Son of Stone certainly lands closer to the comics than the over-the-top video game series, but it still melds tech, indigenous culture, and ferocious dinosaurs in a highly entertaining way. While this entry is a cartoon movie, it is aimed at a more mature audience and is chocked full of sensational and violent action, which fans of 65 may appreciate.

4 Ray Harryhausen: Special Effects Titan

Dinosaurs by Ray Harryhausen
Warner Bros.

Looking at the practical effects of Ray Harryhausen is a great way to pay homage to the killer dinosaur effects in 65. While not all casual film fans may be unaware of Harryhausen, you would be hard-pressed to find someone who has not seen some of his work, as he constructed various creatures in such films as Jason and the Argonauts, One Million Years B.C. (1966), Clash of the Titans and the Sinbad movies.

Ray Harryhausen: Special Effects Titan offers excellent insight into the man and his mastery of practical effects that made him in demand. His work is, and will always be, iconic. Those who love digging into how practical and special effects are made will undoubtedly appreciate this documentary’s insight into how movie magic used to be made.

3 Carnosaur

carnosaur
New Horizon Pictures

Carnosaur does skirt the line of ‘so-bad-its-good’ and guilty pleasure cinema, thanks to some rather absurd sequences throughout the film, including a showoff with the titular dinosaur and a forklift. Still, this film found enough of a cult following to warrant four sequels (which include Raptor (2001) and The Eden Formula).

The first film in the series focuses on geneticist Dr. Jane Tiptree (Diane Ladd), who aims to eliminate humans through a virus and replace them with dinosaurs — real mad scientist-level scheming. Of course, humanity has a problem with that plan, and it is up to ‘Doc’ Smith (Raphael Sbarge) and Ann ‘Thrush’ (Jennifer Runyon) to stop the plans and destroy the prototype for the dinosaur master race.

2 Godzilla (2014)

Godzilla approaches the waterfront in Godzilla (2014).
Warner Bros.

Ah, Godzilla, king of the dinosaurs… We aren’t going to pull that one over on you, but the ‘king of the monsters’ is pretty dang close to its prehistoric counterparts. Moreover, Godzilla compliments the ‘giant monster causing chaos’ that happens throughout 65 with all the Hollywood flair you would want in a giant monster movie.

Related: Some of the Biggest Kaiju Movie Monsters of All Time

There are other series in the Godzilla franchise, and you can go back to the original Gojira, or move forward to Godzilla Vs. Kong to get your fill. These films are highly entertaining and polished, like 65, making them great additions to a dino-watching party. No one will complain that Godzilla is not technically a dinosaur.

1 Alpha (2018)

alpha (2018)
Sony Pictures Releasing

Dealing with the prehistoric period when humans walked alongside mammoths on the Bering Land Bridge to migrate into North America, Alpha could be the best film to check out if you enjoyed 65. The movies draw the best comparison in building an emotional story between two survivors. However, in the case of Alpha the focus is on the relationship between Keda (Kodi Smit-McPhee) and Chuck a Czechoslovakian Wolfdog who plays Alpha in the movie.

The film’s plot follows Keda’s journey to return home after being separated from his tribe during a buffalo hunt. Here, he finds an injured wolf and starts a unique friendship that would change the relationship between humankind and canines. The movie is an extraordinary coming-of-age tale that manages moments of sentimentality and action to craft a rather unforgettable experience and is the perfect follow-up for those who enjoyed the dramatic elements of 65.

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The Adam Driver-led dinosaur film 65

Though her own adventures continue on Disney+, Ahsoka Tano is preparing to join another corner of the Star Wars universe. As announced at Destination D23 in Florida, the character will soon be joining the ranks of the Star Tours ride at Disney parks around the world in spring 2024.

It remains to be seen how much Ahsoka will be included, or even how it will be done. Details weren’t revealed during the panel, so it remains to be seen if Rosario Dawson, who plays Ahsoka on the Disney+ series, will reprise the role.

This comes as both Ahsoka and General Hera Syndulla have been added to Star Wars: Galaxy’s Edge at Disneyland in California. The series, which is a followup to the animated shows Clone Wars and Rebels centers on Jedi master Ahsoka Tano, a former student of Anakin Skywalker.

Warning: Spoilers follow for the first four episodes of Ahsoka. If you aren’t caught up, you might want to skip the rest of this story.

On the Ahsoka show, Tano is on a mission to locate the villainous Grand Admiral Thrawn, as well as her ally Ezra Bridger. At the end of Rebels, the two seemingly traveled to another galaxy and haven’t been seen since. However, there is a way to travel between galaxies that sets up a race between Ahsoka and those loyal to Thrawn.

Perhaps an Ahsoka addition to Star Tours would include her time in the “world between worlds” and potentially take guests to another galaxy in search of Thrawn.

We have reached out to Disney for further clarification and details regarding Ahsoka joining Star Tours. This story will be updated, should a response be provided.

The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.

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By M.R. D’Amico

 

Dogman, horror and kindness

(in competition, 114 min)

Director, screenplay: Luc Besson. Cinematography: Colin Wandersman. Editor: Julien Rey. Music: Eric Serra.

Production: (France) An LBP, Europacorp, TF1 Films production. (World sales: Kinology, Paris.) Producers: Virginie Besson-Silla, Steve Rabineau. 

With: Caleb Landry Jones, Jojo T. Gibbs, Christopher Denham, Clemens Schick, John Charles Aguilar, Grace Palma, Iris Bry, Marisa Berenson, Lincoln Powell, Alexander Settineri.

Luc Besson is back… and he was really moved when his latest movie, Dogman received a 6-minute ovation in the historical Sala Grande and a second standing ovation at the press conference in Venice. It’s like in the old days when Leon and Nikita were a real surprise, in the same way Dogman could represent a new beginning, after the really disappointing Valerian and the City of a Thousand Planets.

Dogman, is a thriller, an action movie, a horror with kindness… Doug, played by a stunning Caleb Laundry Jones (he should definitely win a prize) is a severely traumatized young man who spent his childhood tortured and locked in a cage by his abusive father and brother with several dogs waiting to be trained for dog combats. He could have become another Joker but the loving bond between young Doug and the dogs saved his life… they behaved like real friends who were always there for him… Hundreds of dogs -“they are all my babies”, cries out grown up Doug, the dogman, in his wheel chair when he gets arrested for several crimes- they are also his reason for living, together with his amazing performances as a cross dressed singer in a queer club with a repertoire ranging from Edith Piaf to Marilyn Monroe. A kind psychiatrist (Jessica T. Gibbs) will listen to him sharing his infinite pain.

In the last five years Besson has been absent because he had to deal with the French justice, being accused of raping actress Sand Van Roy (Valerian) but was cleared of all charges in June by the Court of Cassation, the highest judicial court in France. Nevertheless many American and English film critics in Venice took notice but are probably still under the influence, so they hated Dogman… On the other hand Alberto Barbera, quoting the painter Caravaggio, has his own free opinion that he keeps repeating like a mantra: “Judge the art, not the artist”.

Fortunately, at the Berlin European Film Market Dogman was already sold to more than a dozen countries.

 

 

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  By M.R. D’Amico   Dogman, horror and kindness (in

Netflix’s movie selection will make this a September to remember. From an abundance of romantic comedies and dramedies arriving on the streamer this month to fun-loving animation that tells heartfelt stories, there is no shortage of stream-worthy content as the colder months approach. While fall technically does not start until Sept. 21, this list may or may not supply some watch suggestions for pumpkin spice season.

In “Love Again,” Céline Dion talks some sense into Rob (Sam Heughan) when he struggles to make a connection with beautiful Mira Troy (Priyanka Chopra) after she instigates their meet cute by texting Rob’s phone — the same number that used belong to dead lover.

Those looking for more of a young adult love story can check out “Love at First Sight,” based on the book by Jennifer E. Smith and directed by Vanessa Caswill. In the film, shortened from Smith’s original title, “The Statistical Probability of Love at First Sight,” Hadley Sullivan (Haley Lu Richardson) and Oliver Jones (Ben Hardy) meet because Hadley misses her flight to London, for her dad’s wedding, by four minutes.

Lastly, “Choose Love” starring Laura Marano and Avan Jogia promises an interactive adventure.

Here are the 7 best new movies to watch on Netflix in September 2023:

“Love Again”

Sam Heughan and Céline Dion star in Screen Gems LOVE AGAIN.

Watch this one for the Celine Dion soundtrack. The “My Heart Will Go On” singer also stars as the driving factor that helps children’s book illustrator Miray Ray (Priyanka Chopra Jonas) and music journalist Rob Burns (Sam Heughan) get together. Mira lost the love of her life in a car accident a few years ago, but his phone gets repurposed as a work phone. Rob becomes the owner of this phone, so when Mira texts her love’s old number for catharsis, Rob picks up on the hints she drops to learn who she is. Rob also gets an earful from Celine Dion about love when he asks her why she writes so much about it in her songs. Dion challenges him in many ways once she finds out about Mira. “Love Again” arrives on Netflix on September 2.

Love at First Sight

Love at First Sight. Haley Lu Richardson as Hadley Sullivan and Ben Hardy as Oliver Jones in Love at First Sight. Courtesy of Netflix © 2023

Based on “The Statistical Probability of Love at First Sight” by Jennifer E. Smith, the Netflix romance “Love at First Sight” stars Haley Lu Richardson as Hadley Sullivan and Ben Hardy as Oliver Jones. Hadley’s habit of running late usually complicates her life, but when she misses her flight by four minutes, it might be the one time that fate dealt her a good hand. Of course, she happens to align with Oliver Jones at the airport, a boy who never gets taken by surprise and is prepared for every situation. Directed by Vanessa Caswill with an adapted script by Katie Lovejoy (“To All the Boys: Always and Forever”), the film tackles not only the possibility of love at first sight but timing, fate and many more concepts of the human condition. Jameela Jamil serves as narrator of the romantic comedy, which arrives September 15 on the streamer.

Kung Fu Panda 2

kung fu panda 2
DreamWorks Animation

A solid follow-up installment to Po the Panda’s (Jack Black) adventures becoming the Dragon Warrior, “Kung Fu Panda 2” brings the unlikely hero who defeated Tai Lung (Ian McShane) with the Wuxi finger hold and some everyday items like noodle bowls and pot lids, to face his family history. While Po has a great adoptive father Mr. Ping (James Hong), he starts having flashbacks to his biological parents, two pandas who had to leave him behind because someone was chasing them. Meanwhile, Master Shifu (Dustin Hoffman) sends Po and the Furious Five — Tigress (Angelina Jolie), Mantis (Seth Rogen), Monkey (Jackie Chan) and Viper (Lucy Liu) to figure out what Lord Shen (Gary Oldman) is up to with his newfangled fireworks. The final battle is epic, and the connections Po makes between this new villain and his parents are enough to make anyone feel some powerful emotions.

“Choose Love”

Laura Marano plays Cami Conway in "Choose Love" (Netflix)
Laura Marano as Cami in Choose Love. (Nicola Dove/Netflix)

Romance is in the air this month with the September selections landing on Netflix. Those in the mood for a more “engaging” rom-com can watch the interactive “Choose Love” starring Laura Marano, Avan Jocia, Jordi Webber and Scott Michael Foster, which landed on the streamer August 31. Cami Conway (Marano) has a perfect life until she visits a psychic that breaks down the walls she puts around her heart and emotions. She then runs into two of her old flames, who rekindle something that her current boyfriend lacks. She faces a tough choice of which man she wants to end up with, and viewers can make the little choices that determine her path. 

“Don’t Worry Darling”

Dont Worry Darling Florence Pugh Harry Styles
Warner Bros. Pictures/New Line

How fitting that “Don’t Worry Darling” arrives on Netflix just in time for the anniversary of its much-publicized 2022 Venice Film Festival premiere. The drama surrounding the press tour for Olivia Wilde’s sophomore directorial project, which originally streamed on Max after its theatrical release in September 2022, brought the production of the film into question. Whether it was rumors of on-set blowups and speculation about whether or not Harry Styles spit on Chris Pine, online discourse about the press tour snowballed into the craziest conspiracy theories, which actually sort of align with the plot of the film.

Pugh stars as Alice, the wife of Styles’ Jack, who gets selected to work for the mysterious project, headed by Chris Pine’s Frank at a secret facility outside of the town of Victory. Alice begins to question what is really going on at the “Victory Project” when she notices strange things take place around her, but the other 1950s housewives — Bunny (Wilde), Shelley (Gemma Chan) and Peg (Kate Berlant), don’t exactly share her concerns, even when something goes horribly wrong for Margaret (KiKi Layne). Met with mixed reviews, the film is still a must-watch for its influence on pop culture alone.

Miss Congeniality

miss-congeniality-sandra-bullock
Warner Bros.

Sandra Bullock is a hoot in this 2000s comedy. She stars as a rigid F.B.I. agent, Gracie Hart, who has to go undercover in the Miss United States beauty pageant to intercept a bomb threat to the event. From writers Marc Lawrence, Katie Ford and Caryn Lucas as well as director Donald Petrie, the comedy and action film also stars Michael Caine as Victor Melling, Benjamin Bratt as Eric Matthews and Candice Bergen as Kathy Morningside. Bullock is truly at her best combining stunts with crisp comedic timing, and “Miss Congeniality” is top shelf in her catalog.

Wallace & Gromit: The Curse of the Were-Rabbit

DreamWorks Animation

Is there a more perfect way to get in the Halloween mood with some fun animation? We think not. From the creators of “Chicken Run” (2000), the duo that started it all — Wallace (voiced by Peter Sallis) and Gromit — have some rabid rabbit business to take care of in “The Curse of the Were-Rabbit.” The frightening, furry film also features voice actors Ralph Fiennes as Victor Quartermaine and Helena Bonham Carter as Lady Campanula Tottington. Inventor Wallace and his clever dog Gromit, who doesn’t say much, chase after a creature of the night after discovering a terrible rabbit infestation at Lady Campanula’s house. The cotton-tailed culprit might not be who you think it is.

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Netflix’s movie selection will make this a

It’s clear that Gisele Bündchen doesn’t play it safe with fashion. We’ve already witnessed her in some of the lowest-rise pants in history and nailing the “revenge dress” after her divorce from Tom Brady. And now, it’s our turn to see her sport an XXL denim jacket and very little else, save for some platform clogs that have already made it onto our wish list. Pants? What are they for? The model attended a Frame dinner as part of New York Fashion Week and didn’t need a single other item.

This is how she reinvented the jacket as a dress:

Gisele Bundchen is seen arriving at the Frame Gidele dinner event at Jean’s restaurant on September 09, 2023.

Rachpoot/Bauer-Griffin

The garment has a playful quality, due to its asymmetrical configuration and unstructured fit. While we must admit this look is one that only a few would dare to wear, when you’re Gisele Bündchen, there’s no need for reservations or doubts.

On the other hand, her choice of footwear leaves us with much more to think about. Will platform clogs be the next must-have accessory this fall? Everything points to yes. In fact, we can already envision how good they will look with jeans and boho dresses. We may not be ready to walk around NYC in just a jacket but the shoes are still a resounding yes.

Gisele Bundchen in NYC on September 09, 2023.

Rachpoot/Bauer-Griffin

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It's clear that Gisele Bündchen doesn't play

Disney has announced that until October 11th, it will offer a three-month deal on Hulu plus Live TV for $49.99 per month. The $20-a-month discounted subscription, which includes ad-supported Hulu, Disney Plus, and ESPN Plus, comes right as the final weekend of the US Open championships gets underway and the first NFL games of the season happen.

Disney’s Hulu trial is well-timed, given its spat with Spectrum leaving cable customers with legally dubious options for watching some of the year’s biggest sports events.

That includes tennis player Daniil Medvedev, who last week said he had to use pirate streams to watch the US Open while playing in it since the hotel TVs were connected to Spectrum. Medvedev, who won the tournament in 2021, will face Novak Djokovic tomorrow in the finals, and Deadline reports that ESPN has hooked up players, press, and a few others with Hulu accounts to stream the tournament until it ends.

The deal is open to new subscribers, as well as any who haven’t been subscribed to Hulu in the last month. Starting on October 12th, the price for Hulu plus Live TV will jump to $76.99, a change Disney announced in early August along with other price hikes for ad-free Disney Plus and Hulu subscriptions.

Update September 9th, 2023, 5:49PM ET: Added clarification that the $49.99 Hulu plus Live TV subscription includes Hulu with ads and that those who’ve subscribed to Hulu in the last month are ineligible.

Correction September 9th, 2023, 6:20PM ET: This article stated previously that this deal includes ad-free Disney Plus and ESPN Plus. In fact, the subscription includes the ad-supported versions of those services. We regret the error.

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Disney has announced that until October 11th,

Disney is already gearing up for its 2024 D23 Fan Expo. The company has revealed that its 2024 edition will return to the Anaheim Convention Center from August 9-11. Exhibits, panels and shows will take place over the three days at the Convention Center during the day, with additional activities in the evening at the Honda Center.

However, next year’s event will expand out of that three-day window with additional events in the lead-up to August 9, including a daylong pre-convention takeover of Disneyland Park on August 8.

Additionally, the August 11 presentations, which typically draw some of the biggest crowds, will be moved from Hall D23 to the Honda Center Arena, which has a greater seating capacity. Next year also will feature D23 Day on August 4 at Angel Stadium where D23 attendees can watch the Los Angeles Angels take on the New York Mets.

Tickets go on sale next Spring.

We’ll be updating with additional details as they come in, so stay tuned.

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Disney is already gearing up for its

In the 10 years since her last album, Marnie Stern has been a steady presence on TV as a member of Late Night With Seth Meyers’ house band. It rules that she got that NBC healthcare and steady paycheck, but every time the band’s plush and mellow indie rock wafted the show to ad break, it was easy to think about how much more she was capable of. “Plain Speak” ushers her out of the subdued TV instrumental zone with lively, nimble guitar heroics and a swarm of multi-tracked vocals. “I can’t keep on moving backwards,” she sings, and the song presses her point with its constant bustle. Every bit the guitar hero she was a decade ago, Stern feverishly taps frets; the riffs can’t decide if they’re climbing or falling, but she’s on the up.

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In the 10 years since her last

YouTube TV’s debut of the NFL Sunday Ticket games package was expected to include a time-lag compared with live TV broadcasts of up to one minute, according to some reports.

However, according to initial user reports on social media and a comparison of CBS’s broadcast versus YouTube TV’s livestream of the Cincinnati Bengals vs. Cleveland Browns on Sunday, there YouTube livestream had a delay of less than 20 seconds.

“Wow, Sunday Ticket on YouTube is amazing,” one user wrote on X (aka Twitter). “On my phone, the broadcast delay is only 10 seconds … behind AN ANTENNA.”

Matt Infante, chief operating officer of media company Pro Football Network, wrote, “NFL Sunday Ticket on YouTube not showing the kind of delay that many feared. So far.”

In a statement to NBC News, Google, parent of YouTube, did not specifically address latency expectations for Sunday Ticket but said “Overall, YouTube TV is built on the infrastructure that powers YouTube and reliably serves billions of playback every day. The YouTube TV team is working on building a high-quality Sunday Ticket experience.”

NBC News’ report cited a study conducted by Phenix Real Time Solutions that found that during for the 2023 Super Bowl this February, there was a time lag of between 23 and 76 seconds between the on-field action and the livestream on internet streaming services.

For example, fans watching the Super Bowl earlier this year on one of six leading digital providers saw the big plays between 23 seconds and 76 seconds after spectators in the stands did, according to an annual study done by Phenix of the lag between real-time action of the NFL title game versus streaming.

Google last year wrested rights to Sunday Ticket from longtime holder DirecTV. Under the seven-year pact, the internet giant will reportedly pay the NFL between $2 billion and $2.5 billion annually.

YouTube initially sold NFL Sunday Ticket for the 2023 season in single-payment plans, and last week introduced a monthly payment plan available in most U.S. states. That offers the NFL Sunday Ticket Primetime Channel for $99.75 per month over four months (for $399 total). Meanwhile, under a partnership with Warner Bros. Discovery, YouTube is offering eligible subscribers four months of the Max tier without ads for free. YouTube also has a distribution deal with Verizon, which is giving away Sunday Ticket to certain eligible subscribers.

Sunday Ticket, available in various prices and bundles on YouTube and through YouTube TV, includes all out-of-market Sunday afternoon regular-season NFL games broadcast on Fox and CBS.

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YouTube TV’s debut of the NFL Sunday

BBC correspondent Nick Beake is on the ground in the Moroccan village of Tafeghaghte, where’s he been told 90 people are confirmed to have died after a huge earthquake struck in the High Atlas Mountains on Friday.

Search dogs have been sniffing through the rubble and rescuers are listening closely for any signs of life, but hope of finding more survivors is fading.

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BBC correspondent Nick Beake is on the

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Stassi Schroeder and Beau Clark are one

Amidst all the chatter around what’s coming with the iPhone 15 handsets, it can be easy to forget that we’re also expecting an Apple Watch 9 and an Apple Watch Ultra 2 at Tuesday’s special Apple event – and more details around these wearables just leaked.

Over at Bloomberg, the usually reliable Mark Gurman has set out what he believes is coming with Apple’s next two smartwatches. While there aren’t likely to be many major changes this year, there are some rumored improvements worth making a note of.

Gurman talks about “various sensor and internal component upgrades” for both watches and specifically mentions a new version of Apple’s optical heart rate sensor. No further details are given, but it sounds like faster and more accurate readings will be the result.

There’s also a mention of an upgraded U2 ultra-wideband chip to replace the existing U1 for both watches, an upgrade that has also been tipped for the iPhone 15 handsets. This should mean more precise location tracking in the Find My app.

Watch this space

Other bits of information included in the new report have been mentioned before, including a switch to using some 3D-printed parts, and a significant chipset upgrade that should have a noticeable effect on the performance of these smartwatches.

It looks as though there could be changes in terms of the bands you can get for the Apple Watch as well this year. Apple is expected to discontinue the leather options, while the stainless steel link bracelets look set to be discontinued or replaced too.

Of course there’s always the question about whether you should buy now or wait. Both the Apple Watch 10 (or Apple Watch X) and the Apple Watch Ultra 3 are rumored to be quite significant upgrades in terms of Apple’s smartwatches.

Those models will be coming in 2024, but for now we’re ready and waiting for the Apple Watch 9 and the Apple Watch Ultra 2 – together with the new iPhones – and we’ll be covering the event on September 12 as it happens.

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Amidst all the chatter around what's coming

EXCLUSIVE: American filmmaker Minhal Baig made waves with her 2019 breakout Sundance title Hala, and she’s back this year with the TIFF Centerpiece title We Grown Now, which Deadline can share a first-look clip from above. 

The pic is set in 1992 Chicago. Synopsis reads: As Michael Jordan solidifies himself as a champion, a story of two young legends in their own right begins. As wide-eyed and imaginative best friends Malik and Eric traverse the city, looking to escape the mundaneness of school and the hardships of growing up in public housing, their unbreakable bond is challenged when tragedy shakes their community just as they are learning to fly.

Baig produced the film alongside Joe Pirro from a screenplay she also wrote. Executive producers are Jurnee Smollett, Jeff Skoll, Anikah McLaren, James Schamus, and Carrie Holt de Lama. Cast features Smollett, Blake Cameron James, Gian Knight Ramirez, S. Epatha Merkerson, and Lil Rel Howery. Participant is handling world sales. 

Baig is a Chicago native. Her directorial credits include the shorts After Sophie and Pretext and the feature film Hala, starring Geraldine Viswanathan, which was picked up by Apple following its Sundance debut. She also had an overall writing-producing TV deal with Amazon and worked on the first season of Hulu’s Ramy and the final season of Netflix’s Bojack Horseman.

Baig began work on We Grown Now after completing post-production work on Hala. 

“After filming We Grown Now, I moved back home to Chicago after sixteen years apart,” she said. “The place I had been grieving since my father’s death had irrevocably changed, but I also felt at home. I no longer saw a place defined by what I had lost but what remained: community. For many people, home can hold so many meanings; it cannot be simply defined.”

Check out the full clip above.

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EXCLUSIVE: American filmmaker Minhal Baig made waves

New Canadian Black talent faces many obstacles to making real inroads on film and TV sets, some hidden or barely acknowledged.

But music video-turned-film and TV director Julien Christian Lutz – also known as “Hotline Bling” helmer Director X – sees one barrier in plain sight and easily surmounted: offering support and guidance to emerging Black talent so they can know their way around Canadian film and TV sets.

“You walk onto those sets and into those writing rooms, they’re very white places,” Lutz, co-founder and managing partner of indie banner Fela, told The Hollywood Reporter ahead of a Toronto Film Festival panel on Sept. 11, entitled Empowering Rising Voices: Advocating for Diversity, Equity and Inclusion Through Film.

Training Black talent is required across the industry, in front and behind the camera. “We have a talent pool that’s been neglected. They haven’t had the experience they need. They haven’t had the opportunities. Now we need to help them to gain skills, gain experience, the stuff they naturally should have had if we were honestly hiring people based on their talent,” Lutz insisted.

He added that the murder of George Floyd spurred the Canadian industry to make sweeping commitments to racial justice and inclusion: “The industry followed through with what they saw to be a problem, which is great. But the missing gap is in training.”

Lutz argued real change will happen when young people from underrepresented communities get onto sprawling sets where they can go big with new roles and responsibilities, and without crashing hard.

“It’s that middle ground that’s so important to hone your craft, especially on jobs where they’re not paying full attention, where it’s not a top priority for the company. Those are still important jobs, where you learn the game, you can make mistakes that don’t reverberate up to the boss or the CEO,” Lutz insisted.

He said Hollywood is shifting in that direction with lower-budget movies made for emerging streaming platforms. “This is a space for all young talent to learn in. It’s time to go back to the low-budget movie or the contained TV show, because they’re not made to be blockbuster viral hits,” Lutz argued.

The Toronto-based director got to know his way around a film set by making signature music videos for Rihanna, Jay-Z, Kanye West, Wiz Khalifa, Usher and Justin Bieber. He helmed Rihanna’s 2016 “Work” music video that featured Drake.

And Lutz made his feature directorial debut with the 2018 Superfly remake and also directed episodes of The Imperfects for Netflix. On Sept. 27, he’ll debut his Canadian indie TV drama Robyn Hood for Global Television.

The one-hour action drama, also from screenwriter Chris Robert, was shot in Toronto and Hamilton, Ontario, as it offers a modern take on the Robin Hood legend. On the Robyn Hood shoot, Lutz recalled having to give extra training to veteran hair and makeup technicians so they could work with Black actors.

“If you’re not a Black person, to say to Black people hair’s not a big deal. No, hair is a big deal. Makeup is a big deal. On my show, it was an issue,” he said. “We have Black talent coming up from America, often time doing Black movies and TV shows. We need talent that can handle hair and makeup for them. We have a gap we need to fill.”

The Toronto Film Festival continues until Sept. 17.

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New Canadian Black talent faces many obstacles to making

Sobhita Dhulipala wants to star alongside Ranveer Singh in Farhan Akhtar’s Don 3.

Sobhita Dhulipala wants to audition for Don 3, as she thinks she will be a perfect fit in Farhan Akhtar’s film.

The announcement of Don 3 with Ranveer Singh in the lead received a mixed reaction from fans. While some were happy about the franchise’s return, others thought Shah Rukh Khan should still play the stylish criminal being chased by police from 11 countries. This also led to speculations about the leading lady of the film. While it is rumoured that Kiara Advani might be essaying that part, lack of an official announcement has kept the fans waiting with their bated breaths. Amid this, Sobhita Dhulipala who recently enthralled everyone with Made In Heaven Season 2 and The Night Manager expressed her keenness to feature in the much-awaited sequel.

In an interview with the news agency PTI, Sobhita Dhulipala explained why she will be a perfect fit for Roma’s role. She stated, “I would be thrilled to (be part of ‘Don 3’). After ‘Made in Heaven 2’ came out, there were so many people who were like, ‘Tara is feisty’ and ‘Tara’s energy is like Roma’s vibe’. So, that comparison was flattering, I love the films. Priyanka was amazing as Roma. Just the prospect that people thought this was a well-suited thing was amazing. I would love to audition for it (‘Don 3’).”

Meanwhile, Ranveer Singh’s Don 3 announcement teaser led to some criticism for Shah Rukh Khan and the creators of the movie, Farhan Akhtar and Ritesh Sidhwani. Farhan talked about it in a BBC interview, and Ritesh shared his thoughts in an exclusive chat with indianexpress.com.

During a conversation about the importance of choosing the right actors for their films, on being asked about the criticism they sometimes receive before a project is even released, as seen in the case of Don 3. Ritesh brushed off the impact of such criticism and said, “It’s nothing. We will answer that when we come to Don 3. When you see the trailer, you tell me if that guy lives up to what the character [demands in the film]. Now, it’s our job to make sure it happens.”

Ritesh Sidhwani also talked about how casting differs between movies and online shows. When web series first started in India, the focus was on choosing the best actors for the roles. But in the last two years, with many famous Bollywood actors moving to online platforms, has the way they pick actors changed? Sidhwani said that from the beginning, they believed in choosing actors who fit the roles rather than going after big-name stars. He mentioned that writing a script with a specific actor in mind can be a problem because if the project doesn’t happen, it can be discouraging for the writer. However, he highlighted that with OTT platforms, you have the freedom to cast the right person for a role without being tied to a particular star or image.

As per reports, Farhan Akhtar will dive into Don 3 once he finishes other pending projects. Don 3 is expected to go on floors by the end of 2024 and will eye a 2025 release date. 

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Sobhita Dhulipala wants to star alongside Ranveer

Denzel Washington is no match for this sister.

“The Nun II” topped the box office charts, earning a scary good $32.6 million this weekend from 3,728 locations. That was more than enough to topple Sony’s “The Equalizer 3,” which features Washington as a mysterious avenging angel, from the first place perch it held last weekend. “The Equalizer 3” racked up over $12.1 million in its second weekend to push its domestic gross to $61.9 million. Globally, the action sequel crossed $100 million at worldwide box office, bringing its haul to $107.7 million.

Though impressive, “The Nun II,” which is the ninth chapter in Warner Bros.’ ongoing “Conjuring” series, couldn’t match the high-water mark set by its 2018 predecessor “The Nun,” which opened with $53.8 million. The film sees Taissa Farmiga and Bonnie Aarons return as Sister Irene and the titular Nun, respectively, with newcomers to the franchise, Jonas Bloquet, Storm Reid and Anna Popplewell, rounding out the ensemble of frequently habit-wearing characters. Michael Chaves, who directed “The Curse of La Llorona” and “The Conjuring: The Devil Made Me Do It,” slid behind the camera for this installment.

“My Big Fat Greek Wedding 3,” the weekend’s other new wide release, opened in third place with $10 million. The film was written and directed by Nia Vardalos, who also stars alongside John Corbett. Focus Features is distributing the film in the North America, while Universal Pictures International has foreign territories. The third chapter in the comedy series follows the eccentric Portokalos family as they travel to Greece for a family reunion.

“Jawan,” an Indian Hindi-language action-thriller, took fourth place with $6.2 million. The film features Bollywood star Shah Rukh Khan playing a dual role of a father and son. It was directed by Atlee.

“Barbie,” the Warner Bros. comedy that dominated the summer box office, rounded out the top five, grossing $5.9 million. That brings its domestic total to a flashy pink $620.5 million.

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Denzel Washington is no match for this




Over the past week, we’ve learned more about the new Agatha Harkness series, guest casting for Deadpool 3, and The Marvels.

We’ve got several stories to cover in MarvelBlog News, so let’s get started!

About Agatha Harkness

Agatha break free

Agatha break free. Photo: Marvel

Last week, people like me described the name change of Agatha: Coven of Chaos a surprise.

Apparently, the cast disagrees with that assessment. Actress Aubrey Plaza just posted the following:

That’s the hilarious actress’ cheeky way of taunting everyone who was out of the loop on that one.

Plaza is showing one of the chairs from the set of Agatha: Darkhold Diaries.

That shot happened during principal photography, indicating that everyone knew about the name change in May.

Agatha Harkness using magic

Source: Marvel Studios

Marvel chose to keep the secret until a later date to surprise fans. In the process, the producers hinted that so-called insiders don’t know anything.

Almost as a form of protest, those same insiders have suddenly started leaking plot details about the project.

Should we believe them? Well, if they can’t even get the name right on the story, I’m skeptical.

Scenes from the Coven of Chaos wrap party

Image: Marvel

Still, the hot rumor of the moment is that Billy will appear in Agatha: Darkhold Diaries, which wouldn’t be that much of a surprise.

After all, Marvel has strongly hinted that we haven’t seen the last of Wanda’s twins, even though they only exist in her mind.

The Scarlet Witch appeared to be studying the intricacies of the Darkhold as a way to bring them back into this realm.

It was Agatha All Along - Fietro

Photo: Marvel

Presuming Wanda succeeded, what would happen next? Billy would enter this realm only to discover that his mother isn’t around.

Who would be a reasonable person for him to contact? Agatha Harkness makes as much sense as anyone.

Agatha Harkness in New Salem

Photo: Marvel Studios

I don’t necessarily buy the idea, but some of the casting reports have aligned with a child of Billy’s age appearing on the series.

One other note: Variety specifically reports that the name change reflects that we will NOT see a reformed Agatha Harkness at the start of this series.

Deadpool 3 Casting and News

Source: @VancityReynolds

Do you remember who played Sabretooth in X-Men Origins: Wolverine?

The answer is Liev Schreiber, who has become a much bigger star since 2009.

As the lead in Ray Donovan, the actor has earned a slew of Golden Globe and Emmy nominations.

Source: @VancityReynolds

Now, with reports of Deadpool 3 reuniting many former participants of Fox’s Marvel film franchise, Schreiber may come onboard.

According to Yahoo and other sources, Schreiber will appear in Deadpool 3.

Note that the actor will portray Victor Creed aka Sabretooth and that the role isn’t a cameo.

Source: Fox/ Marvel

However, given the sheer number of returning characters in the film, the belief is that Schreiber’s part isn’t that large.

Also, I should stress that none of the trades has confirmed this yet. So, this one counts as speculation rather than news, at least at the moment.

Now that the cat’s out of the bag, I see no reason why Marvel wouldn’t confirm, but it hasn’t yet.

Marvel Miscellany Part One

We have several other stories to cover this week, none of which is significant enough to justify its own section.

For starters, I Am Groot season two is now available on Disney+! Subscribers can watch the new mini-episodes here.

While we’re on the subject of Disney+ programming, something I can confirm is that Ironheart had finished filming at the time of the strike.

Dominique Thorne

Photo: Dave Burbank/Cornell

Disney’s decision to pull this series from the release schedule frankly didn’t make a lot of sense.

A scooper believes that they know the explanation. Here’s the Tweet:

The thought is that Marvel wants to align the release date of Ironheart with its somewhat connected story, Armor Wars.

In that scenario, it wouldn’t make sense for one series to come up 18-24 months before the other.

While Armor Wars should begin filming at some point after the strike ends, it’ll need at least a yearlong lead after that.

Armor Wars Cover Photo

Photo: Marvel Studios

What we’re learning with Disney+ titles is that people have short term memories about the content.

For example, Marvel critics have already forgotten how good Ms. Marvel and She-Hulk were. Instead, they focus on the shortcomings of Secret Invasion.

Disney, Marvel’s owner, doesn’t want a similar gap here. It would cause some to state that Armor Wars has come out too late, which would hurt its perception.

Source: Marvel Studios

Again, that’s a rumor, but I believe its underlying logic. Such a move would explain some stuff as well.

The reports regarding Ironheart’s completion came from November 2022! Even if it ran late AND required reshoots, it should be ready by now.

This move strikes me as a patient one by Disney.

Marvel Miscellany Part Two

I'm a bit worried about Sylvie's self-esteem in Loki season two.

Image: Marvel

Speaking of Disney+ shows, Loki season two debuted a new trailer this week. Have a look:

You’ll notice that Jonathan Majors again appears in the clip. The actor portraying Victor Timely recently had his court date delayed again.

A new court date will occur on September 15th, but that’s not necessarily the trial date.

The attorneys for Majors have found reason for multiple delays, which isn’t great for Marvel.

Miss Minutes doesn't care about your power pellets in Loki season two!

Image: Marvel

Majors could ostensibly be on trial at the same time that his episodes of Loki air. Alternatively, the matter could be resolved this week. I’ll update you next time.

In other Marvel news, Guardians of the Galaxy assistant director Jamie Christopher passed away at the age of 52.

Avengers: Age of Ultron

Photo: Marvel

Christopher had also worked on Avengers: Age of Ultron, Thor: The Dark World, and Black Widow. So, this is a loss for Marvel workers both personally and professionally.

Finally, I should point out these two new YouTube videos:

That one reveals The Road to The Marvels, the movie that will debut in theaters on November 10th.

Then, we have this:

Yes, we’ll finally get Marvel’s take on the MCU Timeline in this book. Oh, and speaking of books, Look Out for the Little Guy is now available for purchase!

So, you can read Scott Lang’s official biography!

 

 

 

Thanks for visiting MarvelBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below, and one of the agents from MickeyTravels, a Diamond-Level Authorized Disney Vacation Planner, will be in touch soon!

Featured image: Marvel




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McDonald’s is celebrating its pop cultural history with a brand-new “As Featured In” Meal. This new meal option lets you order “fan-favorite menu items that have made iconic appearances throughout film, television, and music.” It’s a clever conceit because, as the trailer for this meal lays out, McDonald’s has had quite a history across some of our favorite movies, TV shows, and more. (Yes, the “As Featured In” meal has a trailer. It is kind of fitting.) Honestly, seeing all the instances of characters ordering at or working in a McDonald’s arranged into a nostalgic sort of montage does drive the point home. We don’t love product placement in our movies and shows, but McDonald’s has undoubtedly been around the block. And, of course, the trailer also features the latest entry into McDonald’s pop-culture oeuvre. This McDonald’s meal also treats us to new footage from Loki season two.

Sylvie, Loki, Mobius, and More Arrive In a McDonald’s In Season Two

Tom Hiddleston’s Loki and Sophia Di Martino’s Sylvie will have their big reunion in a McDonald’s. It’s another dramatic moment below the glow of golden arches. Of course, they aren’t the only Loki season two denizens snagging a treat at the fast food place. Owen Wilson’s Mobius is spotted treating a TVA prisoner, played by Rafael Casal, to a milkshake. We wouldn’t necessarily say we associate Loki and McDonald’s, but we’ll stay tuned to see if the god of mischief at least gets a Happy Meal toy made in his image in season two. In the meanwhile, we hope everyone enjoys their awkward encounters among the fries.

Additional Loki season two footage from McDonald’s shows a slightly longer version of the reunion scene. This time Mobius and Rafael Casal’s character are present and watching the two gaze meaningfully at one another. But all Mobius can think of is an apple pie.

Why is Sylvie in a McDonald’s in Season Two of Loki?

As to why Sylvie is in a McDonald’s in this Loki season two footage? Well, it might not be what you think. Loki‘s producer, Kevin Wright explains:

This character had been on a decades-long, maybe centuries-long revenge mission, and the classic trope of those stories is that it’s all-consuming and she’s not thinking about what comes next… Now she has this moment of opportunity – where is she going to go?

When we stayed in the view of character, this woman who went on the run as a child, had been running through time, a fugitive of time, living in apocalypses, never being able to relax or slow down, the novelty of walking into a 1980s McDonald’s looked appealing… You play a Little League game and go to McDonald’s. You go to a kid’s birthday party at McDonald’s. Someone like Sylvie would never have experienced that and would be really taken by that.

Additionally, Wright notes that it was Loki and not McDonald’s idea to add the ode to the resturant, “I was worried that McDonald’s would think we wanted to do something ironic or make fun of them. But we were selling an earnest story, a love letter to nostalgia through a character’s eyes who will see all of the novelty and joy of it.”

Sophia Di Martino who plays Sylvie in Loki adds of Sylvie’s Loki season two job “She’d probably be pretty hungry.”

New Loki Season Two Image Provided By McDonald’s

McDonald’s took to their social media to share our latest look at Loki season two. Sylvie continues to rock the McDonald’s uniform, making us feel like the fast food restaurant will have quite the sequence when the show returns.

What Is McDonald’s “As Featured In” Meal?

In addition to Loki, McDonald’s highlights its appearances in The Office, The Fifth Element, Seinfeld, Friends, Clueless, and more. The “As Featured In” meal lets you choose between the most often-cited McDonald’s pop-cultural elements, McNuggets, a Big Mac, and a Quarter Pounder with Cheese. It then adds fries and a soft drink and finishes with a special Loki season two Sweet ‘N Sour Sauce. It may not seem like much, but those McDonald’s sauces can create a frenzy.

McDonald’s

In fact, act fast if you want one because otherwise, you might have to slip through time for a taste. Get an extra pack or two to enjoy when Loki season two releases on October 6.

Originally published on August 14, 2023.











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McDonald’s is celebrating its pop cultural history

Blizzard Entertainment has announced Hero Mastery mode for its shooter Overwatch 2. The new mode is meant to help players sharpen their skills with a few different characters.

Hero Mastery mode is a new single-player mode that’ll have you race through maps filled with bots, obstacles, and jump pads. Currently, the only playable characters in this mode are Mercy, Reinhardt, and Tracer, but you can play as Sojourn and Winston later this season. Each time you play, your score will be determined by how fast you complete the course, the number of bots you’ve destroyed, and how many emblems you collect along the way.

As you race through the map, you’ll encounter three types of robots. The first one will be Tank bots. As the name suggests, these can take more damage than the others. Other bots will include Rocket Bots, which can “shoot projectiles that will deal significant burst damage,” and the last type will be Sniper Bots, which can often be found away from the battlefield.

Each hero will come with their own set of courses to complete, and if you want to participate in the Agents courses, you’ll first need to complete the Recruit courses with at least a three-star rating. If you complete all three courses with a specific character, you’ll unlock the following: Player Icon, an exclusive Name Card, and bonus Battle Pass XP. Those who play Hero Mastery mode from now until September 25 are eligible to earn an exclusive weapon charm, souvenir, spray, and title.

For more Overwatch 2 content, be sure to check out our guide on how to connect your Battle.net account to your Steam account and our guide on all of Illari’s abilities.

About the Author

Luis Gutierrez

Hello there! Luis Joshua Gutierrez is a freelance writer. You can find his work on GameSpot under the news and guides section and over at IGN, where he does news and guides too. He loves all video game genres. In his spare time, he loves reading, watching tv/movies, and spending time with his pug. Feel free to reach out to him on Twitter @ImLuisGutierrez, and for inquiries, email him at ImLuisGutierrez1997 AT Gmail Dot com.

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Blizzard Entertainment has announced Hero Mastery mode

SUNDAY AM WRITETHRU: After Saturday AM update …refresh for chart Michael Chaves’ The Nun 2 is meeting its opening weekend expectations with a $32.6M take. Even though that’s -41% off from Nun 1‘s $53.8M, it’s wonky times with the pic’s lead stars Taissa Farmiga and Storm Reid and the studio unable to truly splash this event-wise, etc due to the actors strike. The sequel cost $38.5M before P&A.

Note, the 3-day ease between the openings of the first and second Annabelle was -6% while it was -12% between Blumhouse’s first two Purge titles.

At the same time, Nun 2‘s opening isn’t that far from the first two Annabelles’ Friday-Sundays ($37.1M and $35M respectively) and higher than the threequel Annabelle Comes Home which posted a $20.2M 3-day in a $31.1M five-day.

Still, thank you, Warner Bros. The result here for the marketplace is better than the doldrums we had a year ago when Disney opened 20th Century/Regency’s horror title Barbarian to $10.5M in what was an awful overall weekend box office of $43.1M. This weekend is on track for $88M, +104% over a year ago. Also at a time when the strikes have moved some big pics off the calendar like Dune: Part Two, Challengers and Kraven the Hunter, movie theaters will relish this opening particularly after the solid debut of Equalizer 3 last weekend at $42.8M over four days.

The Nun 2 gets a C+, which is a tad better than the C the original movie received. It’s also an average trade for a horror film.

Deep dive into stats: Comscore/Screen Engine’s PostTrak exits have the sequel at 64% positive, and a 47% recommend.  Slightly female heavey at 52% for the R-rated movie, with 67% of the audience between 18-34 and the biggest demo being 18-24 at 38%. Diversity demos show Latino and Hispanic moviegoers leading at 43%, 26% Caucasian, 12% Black and 18% Asian/other. The Nun 2 played strong everywhere, I’m told, but the best in the South Central and West. PLF and Imax auditorium bookings are driving close to 40% of the weekend’s gross to date. As of EOD Friday, Adam Aron’s AMC Burbank is the highest grossing cinema in the nation for the sequel at $89K.   

Yannis Drakoulidis / Focus Features

Nia Vardalos’ second feature directorial, My Big Fat Greek Wedding 3 from Focus Features posted a $3.7M Friday (including previews) and was even on Saturday with the same amount of cash for a $10M opening at 3,650 for third behind the second weekend of Sony’s The Equalizer 3 ($11.7M, -66%). Pic gets a B on CinemaScore which is a downgrade from the previous pic’s A-. PostTrak audiences were harder on the threequel at 73% positive and a 55% recommend. Women came out at 72% with the largest demo being the over 55 bunch at 24%. Diversity demos showed 53% Caucasian, 28% Latino and Hispanic, 5% Black and 14% Asian/other. Greek Wedding 3 played strongest in the East, South and Midwest with The AMC Burbank now the best cinema so far in the nation for the pic at $22K.

Atlee’s action thriller Jawan is owning fourth with an estimated $1.7M on Friday, $2.4M on Saturday for a $6.1M 3-day, $7.5M four day. The Yash Raj Films title is booked at 827 locations with strong ticket sales in NYC, Toronto, Dallas, Chicago, Seattle, San Francisco, DC and Austin. Starring Shah Rukh Khan, the pic’s blurb reads: An emotional journey of a man who is set to rectify the wrongs in the society, in an attempt to get even with his past, driven by a personal vendetta while keeping up to a promise made years ago. A high-octane action thriller where he is up against a dreadful monstrous outlaw who knows no fear and has caused extreme suffering to many. In the journey he will cross paths with a high-minded seasoned lady officer whose emotions might get the better of her as she gets involved in this battle. As his past catches up with him, to overcome the challenges and restore the harmony in their world, he will need all the firepower and intelligence to do so.

Trailer is below:

Chart is updating ….official numbers in bold

1.) The Nun 2 (NL) 3,728 theaters, Fri $13.1M Sat $11.8M Sun 3-day/Wk 1

2.) Equalizer 3 (Sony) 3,965 theaters Fri $M Sat Sun 3-day $, Total: /Wk 2

3.) My Big Fat Greek Wedding 3 (Uni) 3,650 theaters Fri $3.7M Sat $3.7M Sun $2.56M 3-day $10M/Wk 1

4.) Jawan (Yash Raj) 813 theaters, Fri $1.7M Sat $2.4M Sun $2M 3-day $6.1M, Total $7.5M/Wk 1

5.) Barbie (WB) 3,281 (-305) theaters, Fri Sat Sun 3-day $10M (-34%) Total $611.8M/Wk 8

6.) Blue Beetle 2,786 (-530) theaters, Fri Sat Sun 3-day $7M (-42%), Total $58.3M/Wk 4

7.) Gran Turismo (Sony) 2,765 (-1,091) theaters, Fri Sat Sun 3-day xM , total $xM/Total Wk 3

8.) Oppenheimer (Uni) 2,091 (-452) theaters Fri $800K Sat $1.36M Sun $840K 3-day $3M (-48%)/Total $315.1M/Wk 8

9.) Teenage Mutanta Ninja Turtles…(Par) 2,500 (-455) theaters Fri $570M Sat $1.3M Sun $730K 3-day $2.6M (-44%) Total $111.3M/Wk 6

10.) Bottoms (MGM) 1,265 (+550) theaters, Fri $631K Sat $811K Sun $609K 3-day $2.05M (-33%) Total $7.6M/Wk 3

FRIDAY AM: The Nun 2 made $3.1M last night at 3,200 locations.

New Line’s Conjuring universe sequel, though expected to open lower than the original movie’s franchise record breaker of $53.8M, will keep what’s been a summer clock going with a projected $30M+ start.

The first Nun back in 2018 made $5.4M previews before booming to a $22M first Friday. There was a lot of walk-up business from Latino and Hispanic moviegoers, and a similar halo could occur here with the sequel. Michael Chaves, the director of The Conjuring: The Devil Made Me Do It and The Curse of La Llorona, takes over helming here on The Nun 2 from Corin Hardy.

Critics like the sequel a bit more than the first installment, 51% to 24% on Rotten Tomatoes. Sour reviews never cursed the Nun‘s business at the box office.

The Nun 2 returns Warners back to the post Labor Day horror frame they made golden with the first It back in 2017 with a $123.4M. Last September at this time, New Line was scheduled to release the feature take of Stephen King’s Salem’s Lot, but they pushed that indefinitely on the release schedule.

Also previewing last night, and opening this weekend, is Focus Features’ My Big Fat Greek Wedding 3 at 2,500 theaters which made $550K. Critics loathe the threequel as much as the sequel at 27% Rotten on Rotten Tomatoes. The first movie back in 2002–still a box office anomaly that started as a weeks on end limited release before it finally found a massive audience grossing $241.4M–was embraced by critics at 76% positive.

Nia Vardalos, who has written the franchise, finally takes over here as director. Pic is expected to open to the mid-to-high single digits. The sequel arrived 14 years after the original and managed to open to $17.8M and final at $59.6M domestic.

Sony’s The Equalizer 3 ends its first week with $49.7M, which is higher than the first week of the first film ($45.4M), but 1% behind Equalizer 2. The first Equalizer had a 45% ease in weekend 2, while Equalizer 2 declined -61%.

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SUNDAY AM WRITETHRU: After Saturday AM update

The 17-year gap between Awkwafina and Sandra Oh doesn’t do much to hinder their believability as siblings in the straight-down-the-middle comedy “Quiz Lady,” in part because that was never the point. The against-type casting wants to be appreciated for subverting the obvious placement, an inside joke opened to all viewers familiar with Oh’s résumé of chronic high achievers and Awkwafina’s affinity for slackers with an affinity for the chronic.

As screwup big sis and whirlwind of chaos Jenny, Oh rocks the big pants and language about “manifesting” borrowed from girls a little less than half her age, while Awkwafina has the wardrobe, daily routine, and life’s-been-lived defeatism of a “98-year-old spinster” as the junior yet far more mature Anne. They mix like Fireball and water, but the odd couple nonetheless shares a sensational chemistry, building on the base amusement of seeing Oh let her extension-laden hair down and Awkwafina crimp the straight-man character into weird new shapes.

The eager-to-please premise that we’re all just trying to have fun here, first and foremost the likable leads, comes in handy for a film that requires some goodwill to cruise past the feebler bits weighing down a healthy hit-to-miss ratio in this barrage of goofiness. Director Jessica Yu (a short film Oscar-winner once upon a time in the ‘90s) isn’t trying to reinvent the wheels that send the estranged, hijink-prone pair on a reconciliatory odyssey toward quiz show glory. There’s no self-serious emotional undercurrent to a family dynamic most meaningfully strained by a constipation incident decades prior, and the script from Jen D’Angelo declines to offer any solemn sagacities about the challenges overcome by Asian-American women. It’s nothing but a good-not-great time, in one sense a merciful reprieve from the touchy-feeliness and belabored Importance plaguing too many current comedies, and in another a slightness that can translate to an air of the inconsequential, which presumably put this title on the sluicing chute straight to Hulu.

The prodigal Jenny galumphs back into Anne’s orderly-to-a-fault life, organized around the nightly viewings of “Can’t Stop The Quiz” she hasn’t missed since she first set eyes on the bowtie of cornball host Terry McTeer (Will Ferrell, somehow the most normal, dialed-back presence on screen) in early girlhood, because Mom’s in a bad way with some bad dudes. She’s lammed it out of her nursing home and set a course for Macau, where she can leave behind her American gambling debts and rack up some fresh ones. But the gangster (Jonathan ‘Dumbfoundead’ Park) to whom she owes this money, a softie tong with a weak spot for ailing pooches, won’t forget the eighty grand so easily. He snatches Anne’s beloved pug Mr. Linguini, leaving her with no choice but to earn her way out of the hole by going up against the smarm-factory reigning champion Ron (Jason Schwartzman, flaunting camera-ready whitened teeth and foundation-pancaked hands) on the show she’s only dominated from the safe remove of her living room.

The path there is paved with the standard tomfoolery and oddballs, including Holland Taylor as a doddering neighbor unable to tell the difference between Alan Cumming and Paul Reubens (a throwaway bit with a payoff far more powerful than it has any right to be), and Tony Hale as the touchy proprietor of a Ben Franklin-themed inn lacking commitment to its colonial-era roleplaying. Oh has the most trouble locking on to the film’s off-center tonal target, her squawky hamming-up taking a buckshot-spray approach where others sharpshoot. In its weaker moments, the film sinks to this broad level, stuffing in the mandated yet never funny mixed-media drug sequence and the done-to-death slow-mo shot of hollering for dear life as a car spins out. To the credit of the latter, it does justify itself with a solid punch line about racism against Chinese drivers and the problematic impulse for its objects to wield it as an easy defense mechanism.

The final act locates its sentimental core not in the relationship between Anne and Jenny, one sketched with heavy-handed crayon strokes, but in Anne’s deeper love for the quiz show that gave her a surrogate father figure after her real one walked out. Awkwafina’s look of instantaneous mortification upon her Freudian-slip greeting of the long-admired Terry as “Dad” ranks as one of the film’s gut-bustingest moments, and it leads to a disarmingly sincere exchange in which he urges her not to let the anxiety of winning stop her from savoring the most exciting day of her life. Yu foregrounds the bond between sisters — much like the comparably agreeable yet unmemorable “Sisters,” which cast Tina Fey in the party-girl role and Amy Poehler as the glue holding their family together — but Jenny is really a party to Anne’s arc, as a withdrawn know-it-all gets a lesson in living. She learns to cut loose and enjoy the ride, the same relaxed openness to diversion this film wants for its viewers. Unlike the perfect-scoring Anne, however, “Quiz Lady” misses the mark from time to time. This isn’t disqualifying, but it won’t get anyone onto the comedy leaderboards, either.

Grade: B-

“Quiz Lady” world premiered at the 2023 Toronto International Film Festival. It will be released November 3 by Hulu.

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The 17-year gap between Awkwafina and Sandra

The GOAT is back in the finals. Novak Djokovic will play for his record 24th Grand Slam title today when he takes the court against Daniil Medvedev at the 2023 U.S. Open Tennis Tournament men’s final.

The number two-ranked Serbian is coming off a decisive victory over upstart American star Ben Shelton, while third-ranked Medvedev upset defending champ Carlos Alcaraz in the other men’s semifinal match. Want to watch Djokovic vs. Medvedev in the U.S. Open finals? The match airs live on ESPN and you can stream a live feed online through DIRECTV Stream, which carries ESPN as part of its channel lineup.

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Your first five days of DIRECTV Stream are free so you can sign up here and get instant access to livestream Djokovic vs. Medvedev online free.

Djokovic vs. Medvedev: Date, Start Time

Djokovic and Medvedev take to the court at Arthur Ashe Stadium today, September 10 at 1 p.m. PT/4 p.m. ET.

Tickets to the tennis match are still available on sites like VividSeats.com and Stubhub. We’ve spotted general admission tickets starting at $170 on Stubhub.com.

U.S. Open Men’s Final Tickets $170+

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Djokovic vs. Medvedev Livestream: Watch U.S. Open Men’s Final Online

As mentioned, you can livestream Djokovic vs. Medvedev online through DIRECTV Stream, which lets you watch the ESPN live feed on your TV, tablet, laptop or phone.

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You can also watch Djokovic vs. Medvedev online without cable through fuboTV. The streaming service has a seven-day free trial offer here that you can use to livestream Djokovic vs. Medvedev free. Sign up for the fuboTV free trial and use it to stream the tennis match on ESPN.

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Note: while there are free Reddit U.S. Open streams floating around, the only official (and legal) way to stream Djokovic vs. Medvedev online is through ESPN and one of the live TV streaming services above.

Djokovic vs. Medvedev Predictions, Odds

Djokovic will be looking for his fourth U.S. Open title and is the current odds-on favorite to win, though predictions are close. Most final picks give the edge to Djokovic, though IBM’s AI-generated “Match Insights” give Medvedev a 53 percent likelihood to win over the Serbian.

Djokovic, the current world number-two returns to the Flushing Meadows final after missing last year’s tournament due to Covid restrictions. Medvedev, meantime, won his only U.S. Open final in 2021 when he defeated none other than Djokovic in straight sets to claim the title. He’s currently ranked number-three in the world and will be looking to move up the rankings to keep pace with Djokovic and Alcarez.

Head to head, Djokovic leads Medvedev in their all-time meetings, with a record of 9-5. The men’s final comes on the heels of Coco Gauff’s win over Aryna Sabalenka in the U.S. Open women’s final Saturday.

Find a live feed to stream Djokovic vs. Medvedev online free through DIRECTV Stream here.

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The GOAT is back in the finals.

Disney launched a new limited discount for its Hulu + Live TV in hopes that Spectrum customers affected by the blackout see it as a bandage while negotiations between the companies stall.

New and eligible returning customers (who haven’t been with Hulu for the past month) can sign up for Hulu + Live TV for $49.99 a month for three months. That’s lower than the $69.99 a month rate that it normally charges.

The offer comes as the dispute between Charter Communications’ Spectrum and Disney heads into its second weekend, one stacked with big sporting events such as the U.S. Open championship, college football and NFL games. The programming fight has resulted in Disney-owned channels such as ESPN, FX and Freeform, and a few college networks, to go dark for Spectrum customers.

A key sticking point has been the inclusion of ESPN in cable packages, which Charter wants more flexibility on. Charter CEO Chris Winfrey said he’s prepared to walk away from Disney. Disney has argued that it needs to be fairly compensated for its content.

The blackout prompted Florida customers to file a proposed class-action lawsuit against Spectrum, while two governors have sought compensation from the cable provider.

The Hulu + Live TV bundle includes more than 90 TV channels, including ESPN, as well as live sports, national and local news and entertainment.

You can sign up for Hulu + Live TV here. The promotion ends on October 11.

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Disney launched a new limited discount for

Just when you thought Nicolas Cage’s filmography couldn’t get any weirder, along comes Kristoffer Borgli’s “Dream Scenario” to mess with your head.

Cage plays a character you probably wouldn’t notice in real life: Paul Matthews. Schlubby, balding, in wrinkled pants and brown leather loafers, he’s a tenured professor at a university you’ve never heard of, droning on year after year about collective consciousness and the wisdom of the herd. And then something weird happens. Paul starts to appear in people’s dreams, either standing around or just strolling through, and suddenly this all-but-invisible man has people paying attention to him. What does Paul do? What would you do in those terrible shoes of his?

A Norwegian helmer making his English-language debut for A24 (by way of Ari Aster’s production company), “Sick of Myself” director Borgli takes this surrealist premise and approaches it in with a tone that’s a singular mix of comedic and sinister. Is this a fantasy? A fable? A new kind of horror movie? Actually, “Dream Scenario” is all of the above and then some, for it also shares a certain postmodern DNA with two of Cage’s most boundary-pushing movies, “Adaptation” and “The Unbearable Weight of Massive Talent.” Paul Matthews may be a Paul Giamatti type, but it’s not just some random college professor popping up in people’s heads unbidden. It’s Nicolas “not the bees!” Cage, an actor so distinctive, he may well have made bizarre cameos in your dreams already.

Here, as in “Adaptation,” Cage has the challenge of trying to look unremarkable. Costume designer Natalie Bronfman helps, dressing the star in drab clothes the character probably ordered from a catalog. So does the hair and makeup team, who’ve shaved his trademark widow’s peak and let the gray show through in his beard. In class, Paul lectures about zebra stripes, explaining how their camouflage works: The idea isn’t to blend in with nature, but to disappear into the crowd. That’s been Paul’s strategy most his life, though he does have the desire to publish. He’s been working on a theory about ants (something related to their superorganism status, it sounds like) and underhandedly confronts a former classmate (Paula Boudreau) about a paper overlapping with research he did decades earlier in grad school.

In short, Paul is a pathetic character whose early behavior speaks volumes about both his ambitions and his incapacity to follow through on them. He has two daughters (Lily Bird and Jessica Clement), to whom he is hopelessly uncool, and a wife, Janet (Julianne Nicholson), who supports him. Then the dream thing starts to happen, disrupting his relatively stable home life. The movie opens with a mild nightmare, which seems normal enough until impossible things start to happen. Borgli shoots the dreams no different from the waking moments, creating a kind of mind game for audiences, who must determine at any given moment whether the scene in question is real or imagined. Or maybe it’s all just a dream.

The movie’s point of identification here is Paul, so it’s slightly unusual (but also the most entertaining thing about the movie) that “Dream Scenario” allows us into the subconscious of other characters. Paul may appear in their dreams, but he’s not the one making it happen, and he has no access to those memories. Still, once the world realizes that this seemingly unremarkable everyman is appearing in nearly all of their heads, Paul becomes a kind of overnight celebrity. His sparsely attended classes quickly hit capacity, and he fields questions from strangers who share their dreams. There’s the young woman who pictured Paul while she was being attacked by crocodiles, and the guy who saw Paul walk by as he was pulling a tooth from his mouth.

No explanation is ever given for why Paul is suddenly “invading” strangers’ dreams. Nor does the film answer why certain people aren’t affected (including his own wife). As an evolutionary biologist, Paul seems better equipped to solve this mystery than most, and audiences — like some in the film — may wonder if he’s secretly doing something to cause the phenomenon. It’s just one of those things, like the door that leads to a passage through the interior of John Malkovich’s head in “Being John Malkovich,” that is what it is because the movie says it’s so. The point, as in that Charlie Kaufman movie, is how the characters react to something so extraordinary and what that reveals about them.

Paul embraces the situation at first, agreeing to a handful of TV interviews. He even flies to New York, where he takes a meeting with an unconventional marketing firm called “Thoughts?” In a long and uncomfortable but very funny pitch session, Trent (Michael Cera, playing a shaggy Harmony Korine type) sits at the other end of a conference room and tries to convince Paul — whom he calls “world’s most interesting man” — to become world’s first dream influencer. In this and a dozen other ways, the timeless-looking film engages with up-to-the-minute ideas, from cancel culture to going viral, ultimately revealing itself to be a sly social satire.

Still, Borgli keeps us guessing, especially as the way Paul appears in people’s dreams starts to change. A young woman (Dylan Gelula) who works for Thoughts? admits to having “intense sex dreams,” even going so far as to invite Paul home to reenact one together, resulting in one of the most emotionally vulnerable scenes Cage has ever performed. Others report that Paul has turned violent in their dreams, and just like that, his celebrity turns toxic. Strangers pick fights in public, someone spray-paints the word “LOSER” on his car, and the dean (Tim Meadows) is obliged to put him on leave.

Toward the end, Borgli tips his hand by introducing a technology that can project influencers into people’s dreams. The joke doesn’t explain what’s been happening so much as why, on a meta-level, Borgli might be interested in the idea: Just as dreams can be interpreted, so too can “Dream Scenario,” and this development suggests the whole film could be his take on social media — the way viral celebrities and memes invade the minds of millions of people at once, amusing us for a time, only to be rejected and potentially even reviled when their 15 minutes are up. In an uncommonly low-key performance, Cage humanizes that experience and gives us much to think about.

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Just when you thought Nicolas Cage’s filmography

In his new biography written by Walter Isaacson, Elon Musk revealed that he and Grimes have had a third child. Named Techno Mechanicus, or Tau for short, their new child’s existence was kept private until now. Musk and Grimes similarly waited months to announce their second child, Exa Dark Sideræl Musk, in 2022. Their first child, X Æ A-12, or X, was born in 2020.

Grimes and Elon Musk first publicly revealed their relationship at the 2018 Met Gala. In 2021, the couple announced they had “semi-separated.” In Musk’s new biography, Grimes refers to the way he handles his anger as “demon mode.” She goes on to say that it “causes a lot of chaos,” but also allows him to be productive.

Musk has 10 children with three women, one of whom is Shivon Zilis, an executive at Neuralink who reports directly to him. Zilis had twins in 2021 after Musk offered to be her sperm donor so that “the kids would be genetically his,” writes author Isaacson. “He really wants smart people to have kids,” Zilis explained in the biography. This took place while Grimes was expecting their second child. Musk reportedly did not inform her that he had twins with one of his employees.

“Tell Shivon to unblock me and tell Elon to let me see my son or plz respond to my lawyer,” Grimes wrote in a now-deleted post to Isaacson on X (formerly Twitter) last week. “I have never even been allowed to see a photo of these children until this moment, despite the situation utterly ripping my family apart.”

Grimes’ last album, Miss Anthropocene, came out back in 2020. Since then, she’s parted ways with Columbia Records and shared new songs “I Wanna Be Software,” “Welcome to the Opera,” “Shinigami Eyes,” and “Player of Games.” Grimes also unveiled software that can mimic her voice, offering artists that utilize it 50-50 royalties for commercial use.

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In his new biography written by Walter

TORONTO INTERNATIONAL FILMS FESTIVAL 2023 REVIEW! Gay conversion therapy has been center stage in the battle for LGBTQ+ rights around the world. Many religious institutions here and elsewhere support the notion that orientation can be fixed (or “prayed away”). They have justifiably come under constant attack from civil rights groups and mental health professionals because of reported abuses and the lasting damage that the methods of these practices cause.

Carolina Markowicz shines a light on a similar dynamic in Brazil through her film Toll (or Pedágio), a memorable film bolstered by a dominant performance from Brazilian star Maeve Jinkings (a regular in the films of Brazilian auteur Kleber Mendonça Filho). Most importantly, it’s a film destined to hit home for fighting against these exploitative institutions and for LGBTQ+ rights writ large.

Jinkings plays Suellen, a conservative single mother barely getting by as a toll collector. Her son Tiquinho (Kauan Alvarenga) has started recording himself singing and dancing while dressed in drag. Embarrassed by her son’s behavior, Suellen is relieved when her manipulative and ethically questionable coworker (you’ll know it when you see it) introduces her to a local program designed to eliminate homosexuality in young people through religious teaching. Some of their methods involve bizarre activities like remolding clay penises into sculptures of vaginas and parading around “cured” individuals. The only problem for Suellen is that the program is exorbitantly expensive. Through the assistance of her loser boyfriend Arauto (Thomas Aquino), they devise a scheme to pay for it by robbing wealthy drivers passing through her toll.

“…introduces her to a local program designed to eliminate homosexuality in young people through religious teaching.”

We’ve seen movies pushing back against anti-gay institutions, but what makes Toll stand out is Markowicz’s refreshing willingness to give Suellen multiple dimensions as a character. She’s not just a Bible-thumping authoritarian. She legitimately wants what’s best for her son in a culture (or at least a local community) that can still be unfriendly to gay individuals living openly. She may not even truly care about Tiquinho’s orientation. She just wishes he would keep it under wraps because influential people she knows are catching on to his lifestyle. Her actions aren’t justified, but the fact that she’s not cartoonishly evil gives the picture a nuance that mirrors reality.

On the other hand, Toll is less compelling when it strays from Suellen. The narrative subthread around the toll robberies is anything but entertaining, and there’s never any doubt in our minds that they won’t get away with it forever. The brief introduction of an overlord of an organization profiting off of robberies might as well be the jumping-off point for an entirely different movie. Additionally, while many of the sequences inside the conversion center are shocking, the romance that develops between Tiquinho and a young boy feels perfunctory and forced. They share a few short sequences together, but it’s not enough to convince viewers that it’s necessary. Still, Toll is a worthy addition to the filmography of one of Brazil’s greatest working actors, and I hope it gets proper distribution here in the States.

Toll screened at the 2023 Toronto International Film Festival.

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TORONTO INTERNATIONAL FILMS FESTIVAL 2023 REVIEW! Gay

On a Friday afternoon, Wade Tanner is sitting in his downtown Halifax, N.S. tent while sorting through his various pill bottles as he readies to take his daily medication.

He’s dealing with ongoing, serious health problems, while also facing daily struggles of living on the street.

“Water shortage for one, the rats, the drugs, that’s about it around here,” he describes an average night. “It’s drug haven at night, you get all the druggies from all over the city here in the tent city. Running up and down here all night long, you can hardly get any sleep here.”

Tanner was discharged from the hospital on Wednesday, where he was getting treatment for complications of cirrhosis of the liver from hepatitis c and congestive heart failure after a heart attack a year ago.

He’s been trying to get into The Bridge, a shelter with a nursing floor in Dartmouth, to no avail.

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“Nobody is willing to help me,” said Tanner. “I’ve been going everywhere, going to get some help. They just pass the buck, that’s the way I feel, everybody is passing the buck. Go to this agency, go to that agency and nobody is doing anything.”

A friend of Tanner’s, Richard Young, has been living in a tent for just over a month alongside Tanner and fears one day finding that he doesn’t wake from his tent.

“He’s sick,” said Young. “He needs care and he’s in a tent. And he’s forgotten.”

Young has only recently become unhoused, but describes the experience as demoralizing.

“It kills your soul, I’m telling ya,” said Young. “And the longer you stay here, the worse it is, the worse you feel. You know what I mean? Some days it’s even hard to get out of bed.”

Tanner is looking for a place to spend his last years.

“I’m dying,” Tanner explains. “So, I mean, I want a place that I can go and get peace and not cause any problems and not have anybody in my face all the time. You know, I just want somewhere to go.”

As of August 29, according to the Affordable Housing Association of Nova Scotia’s By Name List, there are 1,012 people experiencing homelessness in HRM, an almost 60 per cent increase since August of last year and an approximately 500 per cent increase since 2018.

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While those numbers don’t include people who may be sheltering in rural HRM, sleeping in their car or staying at a friend or family member’s house.

“We’re forgotten, you know, everybody forgets about us,” said Tanner. “It’s not right.”

City staff will present a report to council outlining options for additional designated tent locations and alternative approaches to combatting homelessness at next week’s meeting.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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On a Friday afternoon, Wade Tanner is

Ruby Franke, a Utah mother of six who branded herself as a parenting expert and garnered millions of subscribers to her now-defunct YouTube channel “8 Passengers,” was arrested in southern Utah on child abuse charges.

While Franke, 41, and her business partner, Jodi Hildebrandt, 54, were initially arrested on two counts of aggravated child abuse, the charges were later upgraded to six felony counts of aggravated child abuse. They were arrested at Hildebrandt’s home in Irvins, Utah, about 300 miles south of Salt Lake City. The Frankes live in Springville, Utah, about four hours north of Irvins.

Here’s how the case unfolded.

The Arrest

According to the Santa Clara-Irvins Public Safety Department, the arrests on Aug. 30 came after the department got a call about a juvenile in need of help. That juvenile turned out to be one of Franke’s 12-year-old sons, who police say escaped Hildebrandt’s home by climbing out of a window and running to a neighbor’s home for help.

Police say the boy showed up to the neighbor’s home with duct tape around his ankles and wrists and he was also “emaciated and malnourished.” According to multiple reports, the neighbor called 911 and said the boy told him that “what’s happened to him is his fault.” While waiting for paramedics and police to arrive, the neighbor gave the juvenile food and water.

The department said its officers eventually were led to Hildebrandt’s home, where another child — a 10-year-old girl — was found in a similar condition. The girl turned out to be Franke’s child as well. The juvenile boy and 10-year-old girl were then taken to a hospital, while two of Franke’s other children were taken by the Department of Child and Family Services.

The Arraignment

Franke and Hildebrandt made a virtual court appearance on Sept. 8, which was delayed for nearly an hour after more than 1,300 people — mostly TikTokers — tried logging on to watch the virtual hearing. According to multiple reports, the women appeared via video from jail wearing orange jumpsuits. They did not enter a plea.

According to charging documents obtained by The Salt Lake Tribune, Franke and Hildebrandt are accused of causing or permitting serious injury to the children in three different ways — through a combination of physical injuries or torture; through starvation or malnutrition that jeopardizes life; and by causing severe emotional harm.

The judge ordered the women to remain behind bars without bail. Their next hearing is set for Sept. 21.

The 911 Call

The St. George Police Department released the eerie 911 call, in which a neighbor appeared emotional while talking to the dispatcher.

“I just had a 12-year-old boy show up here in my front door asking for help,” the neighbor says. 

He added, “We know there’s been problems at this neighbor’s house. He’s emaciated. He’s got tape around his legs. He’s hungry and he’s thirsty.”

Later during the call, the neighbor’s voice appeared to crack as if choking back tears.

“He asked us to call the police. So, he’s very afraid,” the neighbor says before taking deep breaths. “This kid has obviously been [breathing hard] … I think he’s been, I think he’s been detained. He’s obviously covered in wounds. We need the cops here as soon as possible.”

First responders, via radio communication, then described the boy’s wounds, saying he has “sores” all over his body.

Prosecutors allege Franke and Hildebrandt either caused or allowed someone to torture the two starving children. They further allege Franke was seen filming in the home days before the arrest, meaning she had to have been aware of the children’s deteriorating condition.

The ‘Expert’

Franke built a strong following on social media due to her so-called strict and no-nonsense parenting approach. But she’s come under fire multiple times. In one TikTok video she posted, Franke says her kids “are literally starving” because she wouldn’t feed them breakfast until they completed their chores.

Franke also came under fire after posting on social media that she refused to take her kindergartner lunch after the child forgot it at home. She said in the video that she told her daughter’s teacher she would not be bringing her lunch in hopes of teaching her a lesson.

“I know that her teacher is uncomfortable with her being hungry and not having a lunch and it would ease her discomfort if I came to the school with a lunch,” Franke says on video. “But I responded and just said Eve is responsible for making her lunches in the morning and she actually told me she did pack a lunch, so the natural outcome is she’s just going to need to be hungry. And hopefully nobody gives her food and nobody steps in and gives her a lunch because then she’s not going to learn from the natural outcome.”

In another video, Franke shared that she and her husband, Kevin, told their two youngest children they wouldn’t be getting any Christmas presents because they were selfish and weren’t responding to punishment. The Franke’s share six children — Shari, Chad, Abby, Julie, Russell and Eve.

“It’s because they’re so numb, and the more numb your child is, the bigger the outcome they need to wake them up,” Franke said in video she shared on social media.

Franke launched her “8 Passengers” YouTube channel in 2015, where she chronicled the Mormon family’s activities, her parenting style and home renovations, among other things. YouTube removed Franke’s channel in wake of her arrest.

The ‘Counselor’

According to her website, Hildebrandt is the founder ConneXions Classroom, which offers counseling services. Her bio lists her as receiving a bachelor’s degree in English and a master’s in educational psychology, though she doesn’t list where she earned the degrees.

Franke eventually joined Hildebrandt as co-host of a parenting advice podcast. According to People, clips have since resurfaced online, in which the co-hosts spout xenophobic views, downplay eating disorders and blame rape victims.

The Husband

While he was not arrested and is not in the crosshairs of the authorities (though his whereabouts on the day of his wife’s arrest remain unclear), Franke’s husband, Kevin, is no stranger to controversy.

In 2020, Kevin was criticized after he and Franke forced their oldest son to sleep in a beanbag for nearly seven months after they banned him from his bedroom.

According to Business Insider, the teen said he got banned from his bedroom after playing a prank on his younger brother. One of the pranks included getting the younger brother to pack a suitcase for a fake trip to Disneyland.

On Sept. 6, Kevin’s lawyer, Randy Kester, went on Good Morning America and insisted Kevin played no role in the abuse that led to his wife and Hildebrandt’s arrest.

“He is a good person. He is very gentle,” Kester said. “And no one’s ever made any allegations that he’s ever physically abused those kids, or anyone else.”

The attorney added, “He just wants to do what’s best for his kids, get them back, get them under his tutelage and his fathership and protect them.”

The Estranged Daughter

Shari, the eldest daughter, has been estranged from her mother for some time now. In fact, Shari took to her Instagram Story and celebrated her mother’s arrest.

“Today has been a big day. Me and my family are so glad justice is being served,” she said in the since-expired post. “We’ve been trying to tell the police and CPS for years about this, and so glad they finally decided to step up.”

Shari also posted a photo of police officers outside the family home. She captioned the post, “finally.”  

The Sisters 

Franke’s sisters — Ellie Mecham, Bonnie Hoellein and Julie Deru — shared a joint statement on social media following the arrest.

“For the last 3 years we have kept quiet on the subject of our sister Ruby Franke for the sake of her children,” the statement read. “Behind the public scene we have done everything we could to try and make sure the kids were safe. We wouldn’t feel right about moving forward with regular content without addressing the most recent events.

“Once we do, we will not be commenting on it further,” the statement continued. “Ruby was arrested which needed to happen. Jodi was arrested which needed to happen. The kids are now safe, which is the number one priority.”

In a since-deleted YouTube video, Hoellein said family members tried to intervene before Franke’s arrest.

“My sisters and I, we are on the very same page, and for the last three years we have truly clung onto each other, offering support to one another, and I don’t think any of us could have ever seen this coming,” she said. “We all did as much as we could legally, and you don’t know what you don’t know.”

The Neighbor

A neighbor who lived next to the Frankes for about five years — and who spoke to People on condition of anonymity — noticed red flags long before Franke’s arrest.

“I think we saw some weird things,” the neighbor said. “But I don’t think anybody thought that these kids were being physically abused to that degree.”

One of the biggest red flags, the neighbor said, came last year when the family’s two youngest children went from paling around the neighborhood to suddenly disappearing from public view.

“She really started isolating her kids,” the neighbor said. “We saw their presence in the neighborhood almost daily, and then we just quit seeing the youngest two around. That was a big change. For most of us, it didn’t point to criminal behavior. It was just curious. Like, what happened there?”

The Chilling History

According to CBS affiliate KUTV in Springville, Utah, police received more than a dozen phone calls to two homes owned by the Frankes. The station also reported that DCFS workers responded to the home four times in 2022 and 2023.

In one instance, a DCFS worker called police on April 16, 2022 and told them Franke “was made aware of two kids running out in the road unsupervised.”

Five months later, Shari called police requesting a welfare check because “her sisters and brothers had been left home alone while their mother was in St. George with her friend.” Shari said a neighbor told her the kids had been left home alone for five days. The outlet reported police arrived at the home and saw the kids “through the windows but would not answer the door.”

According to police, neighbors told them about instances when Franke would “leave her children home for extended periods of time and go to St. George to spend time with her friend Jodi (Hildebrandt).”

If you suspect child abuse, call the National Child Abuse Hotline at 1-800-4-A-Child or 1-800-422-4453, or go to www.childhelp.org.

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Ruby Franke, a Utah mother of six

Martin Aubert Tsai

With “Dream Scenario,” Norwegian filmmaker Kristoffer Borgli (“Sick of Myself,” “Drib”) continues his thematic preoccupations with envy, sudden fame, marketing and reversals of fortune. Working in English with an American studio and a Hollywood star onboard, his work readily invites comparisons with the high- concept ethos of Charlie Kaufman.

Nicolas Cage and a few other cast members surprisingly took the stage at the film’s world premiere on Saturday at the Toronto International Film Festival, where actors have been largely absent amid the ongoing SAG-AFTRA strike. The movie’s studio, A24, has signed the interim SAG agreement.

Cage, who memorably portrayed Kaufman (and his fictional twin) in the Kaufman-penned “Adaptation,” similarly deglamorizes himself here to play Paul Matthews, college ethology professor. Though tenured, Paul still craves recognition. His grad school classmate Sheila (Paula Boudreau) is about to publish a paper based on an idea he shared three decades ago, and deny him credit for it.

While on a night out with his wife, Janet (Julianne Nicholson), Paul bumps into old flame Claire (Marnie McPhail Diamond), who has been seeing him in her dreams. After she blogs about it with his permission, Paul is inundated with messages from random strangers who all claim to have dreamt about him. A vast majority of his students also report the same. There’s of course no scientific explanation for this phenomenon. Paul somewhat revels in the attention, hoping to leverage it into a publishing deal for a book he’s yet to commence.

Recalling Borgli’s debut feature, “Drib,” a branding agency led by Trent (Michael Cera) is eager to monetize this with endorsement deals and movie rights to Paul’s life story, while Paul himself still single-mindedly pitches for his as-yet-unwritten book. Eventually, another company harnesses his unique ability and launches a wristband that allows the wearer to appear in others’ dreams. Borgli introduces the product with a faux infomercial, which especially brings Kaufman to mind. This tangent is mildly amusing, though it doesn’t offer any substantive commentary on the absurdity of it all.

Molly (Dylan Gelula), who works at the branding agency, also has dreams about Paul, hers of a sexual nature. After flirting tentatively, she lures him back to her apartment and proceeds to direct him to reenact her dreams. Naturally, the real deal falls far short of the man of her dreams. This particular scene is perhaps the film’s most original and funniest.

Of course, some of the dreams are in fact nightmares. During the dream sequences, Borgli effectively dials into various horror tropes to great comedic effect. Moviegoers reliably chuckle every time they recognize one of these horror genre exercises within the comedic context.

Initially, Paul appears in people’s dreams as a passive bystander, but in time he becomes physically violent in them. Students stop showing up to his class as they deem the mere sight of him triggering. He also finds himself unwelcome anywhere in public, because others are uncomfortable in his presence. The college eventually commissions a cognitive behavioral psychologist to conduct exposure therapy for Paul’s entire class. Unlike some of the mumbo jumbo in the film, Borgli did not invent this. Fortunately, he doesn’t denigrate this science.

“Dream Scenario” does, however, appear at times to be making a strawman argument against cancel culture. Paul hasn’t done anything to anyone in reality, but people nevertheless hold him accountable for his actions in their dreams. He has to cancel his classes for the rest of the semester and meet with HR, despite the fact that he’s the one who’s being victimized and who’s had his car tagged on campus. He will ultimately be kicked out of his own home and relegated to sleeping on a cot next to a propane tank in his colleague Brett’s (Tim Meadows) basement.

It’s of course fine to scrutinize and lampoon hive-mind mentality and ostracization, but the film specifically namedrops “cancel culture” here. It’s a buzzy catchphrase for sure, but this unwitting conflation comes off as dismissive of the notion that society as a whole should reject proven monsters.

Cage, who shares a producing credit here, definitely knows how to attach himself to some of the most inspired and destined-for-cult-status projects. “Dream Scenario” is another one that cements his legend with movie buffs. As Paul, his performance is noticeably dialed down so that snippets of dream sequences of him going fully lunatic prove much more hilarious.

Although its internal logic and messaging are at times muddled and not fully formed, “Dream Scenario” still proves immensely entertaining. It’s always exciting to see a film when you have not the slightest clue where it is going to go. With this movie, Borgli firmly establishes himself as an exciting talent to watch.

“Dream Scenario” will be released by A24 in November.

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Martin Aubert Tsai September 10, 2023 @ 5:35

Game shows have become a weird new sub-genre at this year’s Toronto International Film Festival, with Anna Kendrick telling the somewhat true story of a serial killer who appeared on “The Dating Game” in “Woman of the Hour” and the documentary “The Contestant” detailing a truly bizarre Japanese reality show that required its player to live naked in a room for more than a year winning prizes in order to survive.

And because it takes three to make a trend, Saturday night at TIFF brought Jessica Yu’s “Quiz Lady,” a spirited if slight comedy directed by Jessica Yu and starring Awkwafina and Sandra Oh as mismatched sisters whose fate is bound up in a nightly game show called “Can’t Stop the Quiz.” Both actresses try very hard to keep this energetic (or, perhaps, frantic) concoction afloat, although the future of this Disney/20th Century property seems healthier on a streaming outlet than in theaters. (The plan is for a Nov. 3 debut on Hulu.)

Awkwafina, with a scowl affixed to her face and a permanent slump in her shoulders, plays Anne Yum, a brilliant but thoroughly antisocial young woman with one daily ritual that brings her happiness: watching the long-running quiz show “Can’t Stop the Quiz” every night with her dog, Mr. Linguine, spitting out the answers before the show’s contestants have a chance to answer for themselves. (And these are “Jeopardy”-plus level questions, which is something of a disconnect given that the host, Jerry McTeer, wears a different bow tie every night and is played by Will Ferrell; you’d think a show that looks that silly would have easier questions.)

When Anne’s mother goes missing from the nursing home where she lives, it forces a reunion between Anne and her largely-absent sister Jenny, played by Sandra Oh for the first half of the film as a collection of hysterical mannerisms in search of a character. Jenny is a hot mess who may or may not be living out of her car, and who’s definitely out of a job because she’s more focused on “manifesting my ideal life.”

She also wants to do some manifesting on behalf of her little sister, so she surreptitiously records Anne rattling off the quiz-show answers one night and slips it on Twitter, where Jenny still has a lot of followers “from that time when Elon Musk yelled at me.” By the morning, “Quiz Lady” has gone viral, and the “Can’t Stop the Quiz” producers soon call offering Anne a slot in their upcoming auditions.

Anne has zero interest in actually going on the show (“I’m not good at being looked at,” she explains), but making money has become a matter of some urgency for her: It turns out that the sisters’ mom has run off to Macao with her rest-home boyfriend, leaving behind an $80,000 debt to a local bookie who, trying really really hard to be sinister, kidnaps Mr. Linguine and demands payment in two weeks.

So off they go to Philadelphia for the audition, fighting along the way before they eventually land in a history-themed motel whose desk clerk is Tony Hale in full Ben Franklin regalia. (Another odd trend at TIFF: Hale in bad wigs, something you can find in this film and in “Woman of the Hour.”)

Of course Anne gets on the show, and of course there’s plenty of hysteria along the way, and plenty of pitched battles between sisters who blame each other for their problems. At a festival where the best comedies (“American Fiction,” “Dumb Money”) have had varying degrees of subtlety to go along with the laughs, “Quiz Lady” spends most of its time being loud and broad and silly. That’s sort of the point, but it can also wear thin when the second most heartwarming scene in the movie comes from Will Ferrell.  

(As for the first most heartwarming scene in the movie, we are not going to spoil that priceless cameo.)

Still, Awkwafina and Oh have the comedic chops to score a fair number of times and also to turn to dial toward genuine emotion when it comes time to do that, and Jason Schwartzman and Holland Taylor have moments as a quietly vicious “Can’t Stop the Quiz” champion and a perpetually cranky neighbor, respectively. This isn’t an awards movie and it’s hardly on a level with the best comic films to debut at this year’s fall festivals, but it may well go down easy when it hits the streamers.

“Quiz Lady” will be released by 20th Century Studios on Nov. 3 on Hulu.

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Game shows have become a weird new

Nearly 30,000 people  have signed a petition which urges the British government to give film and TV crews furlough cash, after the SAG-AFTRA and Writers Guild strikes in the US have left them without work.

The UK’s Mail on Sunday newspaper reports that a huge number of creatives, including many freelancers without any income protection, have been left without jobs after 10 major film productions were put on hold in the UK, and a further seven television series paused. Netflix’s big-budget Sandman is reported to be one of those affected.

The petition currently stands at 29,000 signatures – it needs to reach 100,000 to be debated in the British parliament.

The petition calls on the government to provide “income replacement” for staff unable to work, as the US Writers Guild heads into the 19th week of dispute. The strikers continue to call for higher fees, protected royalty payments and protection from artificial intelligence taking over their jobs.

High-profile British supporters of the strike action include Succession’s star Brian Cox, its writer Jesse Armstrong and Mission: Impossible’s Simon Pegg.

The Mail on Sunday reports that the government has said it is “engaging” with the industry but has yet to commit to providing financial support.

‘We continue our support for the screen industries through competitive tax reliefs, investing in studio infrastructure, supporting innovation, and promoting independent content,’ a spokesman for the Culture, Media and Sport department said.

This comes after Warner Bros Discovery last week said the strikes could dent their annual profits by up to £400million – despite the global success of its biggest ever earning film Barbie.

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Nearly 30,000 people  have signed a petition

Shawn Levy, the director for Deadpool 3, just reacted to the set photo leaks from a few months ago.

Back in July, fans had their minds blown when the first look at Hugh Jackman’s Wolverine costume was revealed. It was like a dream come true – the costume looked ripped straight from the comics.

Over the next few days, even more glimpses of the movie made their way online. This included a big fight between Wolverine and Deadpool, and there was even a massive destroyed 20th Century Fox logo—suggesting that the scene takes place in the Void established in Loki.

Sadly, a few days later, the SAG-AFTRA strike shut down production for Deadpool 3, and that’s the last audiences have seen of the movie since.

Shawn Levy Reacts to Set Leaks

In a new interview with Deadline, Deadpool 3 director Shawn Levy commented on the recent leaks hitting the web from the project’s on-location production.

Marvel

Levy made sure to thank the internet for proving the “great lengths” the team went “to not shoot it on sound stages with digital environment:”

“We went to great lengths to not shoot it on sound stages with digital environments. The internet has proven that by (leaking) pictures of our shoot. Thank you internet! We wanted something that felt grounded, real.”

When Will Fans See More of Deadpool 3?

So when might fans finally get to see more glimpses into Deadpool 3?

Sadly, fans won’t be getting any more looks at Ryan Reynolds’ next adventure until one or both of the WGA and SAG-AFTRA strikes end. Until then, the project will remain in limbo next to Thunderbolts, Blade, Wonder Man, Daredevil: Born Again, and more.

While nothing may be actively happening right now for the production, given the film’s connections to ideas set up within Loki, the second season of Tom Hiddleston’s streaming series will likely increase excitement for the upcoming threequel.

Sadly, because of the recent strikes, Deadpool 3‘s original release date on May 3, 2024, was pushed back. 

Currently, the film does not have a new release date, though if the strikes end within the coming months, the project could still debut in theaters before 2024 comes to a close.

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Summary

  • Grant Gustin and Ezra Miller both played Barry Allen/The Flash in the same era.
  • There are several differences between Miller’s Barry and Gustin’s Barry.
  • For example, Gustin’s Barry originally existed in a world without Batman and Superman, while Miller’s Barry joined the Justice League.

There are several differences between Grant Gustin’s Barry Allen from The Flash show and Ezra Miller’s Barry Allen from the DCEU. Between the world around them and the events they went through, DC’s most recent live-action Barry Allens are very different from each other. Gustin and Miller were cast as Barry Allen around the same time, although all nine seasons of The Flash show were released before The Flash movie premiered. Arrow and its spinoffs were separated from the DC movies since the beginning, which is why the DCEU had a different Flash from the TV show.

Ezra Miller was cast as the Flash for Batman v Superman: Dawn of Justice shortly after The Flash series starring Grant Gustin premiered. Gustin would go on to play Barry Allen in nine seasons of The Flash, not to mention the several Arrowverse crossover episodes. Miller’s Barry Allen first appeared in Batman v Superman’s Knightmare sequence and would then return in Suicide Squad before the character’s proper debut in Justice League. Following The Flash movie and The Flash season 9’s ending, here are the biggest differences between Grant Gustin’s Barry and Ezra Miller’s Barry.

12 Grant Gustin’s Barry Had A Team Flash (Ezra Miller’s Didn’t)

One of the biggest differences between Gustin’s Barry and Miller’s Barry is the existence of a Team Flash for the former. The Flash series, inspired by what had worked for Arrow, introduced the concept of a Team Flash. The Arrowverse’s Barry Allen was taken care of by the scientists of STAR Labs and eventually became friends with Cisco, Caitlin, and the mysterious Dr. Wells. The members of Team Flash, most of which were original characters or reimagined versions of established DC names, worked as the supporting cast for the show. In the DCEU, except for the Justice League missions, Barry Allen operated alone.

11 Green Arrow Mentored Gustin’s Flash (Batman Mentored Miller’s)

Arrow and Flash, Flash and Batman

Both Gustin’s Barry Allen and Miller’s Barry Allen were mentored by older vigilantes who had been superheroes longer than the scarlet speedster. However, The CW’s Flash was mentored by Green Arrow, whereas the DCEU’s Flash was mentored by Batman. Grant Gustin’s first appearance as Barry Allen happened in Arrow season 2, with his episodes serving as backdoor pilot for The Flash show. Oliver Queen continued to be a friend and mentor to Barry throughout the Arrowverse. In the DCEU, Bruce Wayne was the one to recruit Barry for the Justice League. Bruce and Barry continued to be friends, as seen in Ben Affleck’s scenes in The Flash.

10 Gustin’s Flash Didn’t Know Batman & Superman Initially (Miller’s Did)

Custom image of DCEU Batman and Wonder Woman and the Arrowverse's Green Arrow and The Flash.

Originally, Grant Gustin’s Flash was part of a world where characters like Batman, Superman, and Wonder Woman. Those characters were off-limit for The Flash series and any other Arrow spinoffs, which is why the Arrowverse could sometimes feel small compared to the DC Universe. Gustin’s Barry Allen was actually one of the first public metahumans of the pre-Crisis Arrowverse. This was not the case for the DCEU, which could use any DC characters. Miller’s Barry was part of a full-fledged DC Universe from the start, with heroes like Batman and Superman already existing by the time Barry became the Flash.

Related: The Flash Ending Explained: The Complex DCU Timeline & That Multiverse Cameo Broken Down

9 Ezra Miller’s Flash Joined The Justice League (Grant Gustin’s Didn’t)

DCEU Arrowverse Berlanti

As a result of their different franchises, only one of these two Barry Allens became part of the Justice League. Ezra Miller’s Flash was designed to be part of a shared universe centered on the Justice League from the start, whereas the Arrowverse could only use so many DC characters. The Justice League, from the most famous members to the title itself, was off-limits for the Arrowverse. Therefore, Grant Gustin’s Flash was never part of DC’s most famous superhero team. “Crisis on Infinite Earths” did introduce a Justice League-like team, but that was never revisited. Miller’s Barry joined the Justice League shortly after he became a hero.

8 Gustin’s Flash Knew What Killed Nora (Miller’s Didn’t)

Nora Allen in The Flash show and movie

Flash’s origin story in The Flash show was centered on how Barry Allen saw his mother being killed by “something impossible,” a yellow blur that could not explained. This is what inspired Barry to search for strange events around the world, including Starling City’s Arrow vigilante. When the Reverse-Flash first appeared on the show, Barry knew that this was his mother’s murderer. In the DCEU, Barry Allen does not see what happens to his mother. When Barry came back from the kitchen, Nora Allen had already died. Who killed the Flash’s mother in the DCEU wasn’t revealed, although it would likely have been addressed in The Flash 2‘s story.

7 Gustin’s Barry Was Raised By The Wests (Miller’s Wasn’t)

Flash season 8 the flash joe west

The Arrowverse’s Barry Allen and the DCEU’s Barry Allen had different childhoods. Gustin’s Barry was raised by Joe West following the death of Nora Allen and the arrest of Henry Allen. Barry and Iris lived in the same home for years, and Joe West became a father figure for Barry. This dynamic between Barry and Iris West’s family was something created for The Flash series and was not in the DCEU. Miller’s Barry Allen presumably did not know any Wests other than Iris. Overall, the Flash’s origins were not addressed in the movies, , and it is unclear who raised Barry Allen in the DCEU.

6 Gustin’s Barry Was In Love With Iris For Years (Miller’s Barely Knew Her)

Barry and Iris in the Arrowverse and Justice League

Iris West was part of the Flash’s story in both the Arrowverse and the DCEU, albeit not in the same way. Grant Gustin’s Barry Allen grew up with Iris West and was in love with her for years. Iris was even the last person Barry saw before the accident that made him into the Flash. In the DCEU, the first interaction between Barry Allen and Iris West happened in Zack Snyder’s Justice League, and it didn’t seem like they knew each other. The Flash movie slightly retconned Barry and Iris’ story in the DCEU by revealing that they knew each other from school. Regardless, their relationship was only now starting.

5 Gustin’s Barry & Miller’s Barry Got Their Superhero Names Differently

Flash gets his superhero name in the Arrowverse and the DCEU

Oliver Queen was the first person to mention “flash” in the context of Barry’s powers. Iris West would later refer to the “red blur” of Central City as The Flash during a story for the newspaper. From then on, the Arrowverse’s Barry was officially the Flash. In the DCEU, Barry is not referred to as the Flash in Batman v Superman, Suicide Squad, or Justice League. Surprisingly, the DCEU’s Flash got his name from The CW’s Flash. “Crisis on Infinite Earths” brought Miller’s Barry and Gustin’s Barry together for a brief scene, during which the former learned about the latter’s “Flash” alias. This interaction was not addressed in The Flash movie.

4 Gustin’s Barry Fought Every Flash Rogue (Miller’s Didn’t)

Captain Cold, Heat Wave and Captain Boomerang

Grant Gustin’s Barry Allen fought all of the classic Flash Rogues at least once. This includes names like Captain Boomerang, Mirror Master, Captain Cold, Heat Wave, Golden Glider, Weather Wizard, and the Trickster. Ezra Miller’s Barry only interacted with one of the Flash’s Rogues – Captain Boomerang during a brief scene in Suicide Squad. Whether the DCEU’s Flash fought other Rogues offscreen is difficult to say. The Flash movie did not feature any classic Flash villains, and it instead went for a multiverse story that revisited Man of Steel’s General Zod.

3 Flashpoint Happened Earlier To Miller’s Barry Than To Gustin’s

Flashpoint in the show and The Flash movie

Both Grant Gustin’s Barry and Ezra Miller’s Barry experienced a version of Flashpoint, although only The Flash series used the term. The idea of Barry going back in time to prevent his mother’s death and accidentally changing the entire timeline in the process originates from the Flashpoint comic book and has been adapted to the screen multiple times. In the Arrowverse, Barry only created the Flashpoint timeline in season 2, after facing multiple villains and even encountering the Reverse Flash. The DCEU’s Barry, on the other hand, experiences a version of Flashpoint in his first solo movie.

2 Arrowverse’s Henry Allen Knew Barry Was The Flash (The DCEU’s Didn’t)

Henry Allen in The Flash show and movie

The Arrowverse’s Henry Allen, played by former Barry Allen actor John Wesley Shipp, eventually discovered that his son was the Flash. Henry Allen was still in jail when he realized that Barry was the Flash, leading to an emotional moment between the characters. In the DCEU, Henry Allen is not aware that Barry is the Flash, at least for now. Henry asked for Barry to move on with his life and make his own future in Zack Snyder’s Justice League, and now Barry’s father has finally been released from jail after decades.

1 Time Travel Works Differently For Gustin’s Flash & Miller’s Flash

Ezra Miller and Grant Gustin as The Flash

The mechanics of time travel in the Arrowverse are different from the ones in the DCEU. Both franchises actually introduced more than one way to time travel. For example, in The Flash show, the Flash could go back in time and interact with his younger self. However, Barry could also reset the timeline without creating any time doppelgangers. The Flash movie’s multiverse rules include the Chrono Bowl, which allows Barry to perceive time differently through the speed force. Barry can also rewind time in the DCEU, which doesn’t happen in the Arrowverse.

Key Release Dates

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Summary Grant Gustin and Ezra Miller

Salvador Dalí is walking down a hotel corridor. A hotel corridor is being walked down by Salvador Dalí. In a hotel, there is a corridor down which Salvador Dalí walks. So begins — and begins and begins – Quentin Dupieux’s giddy, glitchy altogether delightful “Daaaaaali!” (imagine the title delivered by a practiced yodeler in the middle of a morning gargle). It’s the oldest and lo-fi-est of cinematic tricks: a few simple cuts make it seem like a hotel hallway’s finite, solid space is elastic, stretching from the lift doors into carpeted absurdity. Like the film as a whole, the gag gets funnier as it gets sillier, and becomes more of a homage to the surrealist painter’s ability to warp the reality around him, the more drunken its time-loop chronology. “A story should have a beginning, a middle and an end, but not necessarily in that order,” quoth Godard, but “Daaaaaali!” does him one better by having maybe three beginnings, six middles and four or five endings, none of them coming where they’re supposed to, all of them landing in the right place. 

At the other end of the untrustworthy hallway, nervous pharmacist-turned-journalist Judith (Anaïs Demoustier) waits for Dalí, who is at this moment played by Édouard Baer, but will at other times be performed by Gilles Lellouche, Jonathan Cohen, Pio Marmaï and Didier Flamand, each different in age and body-shape but the same in mustache and mannerism. Rolling his R’s even where there are none, Dalí’s every word and gesture is that of a magician mid-flourish  — although clad impeccably in fur cape and suit, his bearing as erect as the cane he carries and his delivery as stiff as his wax-tipped mustache, there is an irrepressible theatricality to everything he says and does. Eventually conquering the hallway, he settles into an armchair to suffer Judith to interview him, then immediately settles out of it again when he realizes the piece is for print, and not to be filmed. Dalí, like Dupieux, has a profound belief that only the arts “cinématogrrrrrraphique” are equipped to portray his personality, which he regards as his crowning artistic achievement. 

Later (though it is also earlier) Judith phones Dalí, interrupting his painting of a scene we’ve already noted, finished, in the background of a prior TV interview. Dupieux’s restaging of some of Dali’s iconography is a witty little bit of business in itself, imagining that he did not simply paint from his mind, but created practical versions of his surreal setups and transcribed them faithfully. So when Judith’s call comes in, a man with an elongated head and another with a handkerchief in his mouth, posing in front of a ruined farmhouse, get to take a break. A pile of rags in the corner suddenly erupts in impatience, a voice from within complaining “This bullshit never ends!” 

Judith is asking for a second chance. She has secured the interest of a producer Jerôme (Romain Duris) who is enthusiastic about filming her interview, and promises Dalí “the biggest camera in the world.” This appeals to the man’s monstrous, third-person ego, but when that encounter also falls apart, Judith will try and try again, sometimes getting oh so close, sometimes getting nowhere. Not that we can be sure any of this is happening at all. It could all be part of a dream, recounted to Dalí at a dinner party, by a priest who either shoots or is shot by a cowboy, while the guests, including a stentorian Gala Dalí (Catherine Shaub-Abkarian, stiffly enigmatic beneath high-piled, half-up 1940s hair) enjoy a goat-skull stew teeming with maggots. Dalí hoovers it up with the gusto of one spitting it out played in reverse, because that is exactly what’s happening.  

It is fitting, given their frequent collaborations, that “Daaaaaali!” should so amiably mimic the tone and tenor of Luis Buñuel’s surrealist classics, especially in actions that are, like the stew-eating, filmed backwards and played forwards, or that are daisy-chained together under the irresistibly catchy, Spanish-guitar roundelay of Thomas Bangalter’s score. In this discreetly charming way, in the course of a trim 78-minute runtime, Dali finds himself trapped in the quicksands of time unable to escape a dreamscape-type life entirely of his own devising. But Dupieux injects his own particular brand of daffy humor too, writing, directing, shooting and editing his movie, cutting it along a bias that is familiar to those of us who’ve been paying attention to his recent run of form, from “Mandibles” to “Incredible but True” to “Smoking Causes Coughing” to “Yannick,” his excellent 67-minute bottle episode that premiered just last month in Locarno. 

But maybe the director’s greatest feat here is that despite the five different actors and all the background nonsense, he makes the beloved, mercurial madman the most consistent presence amid all the other, far more normcore characters. Nobody else seems to notice anything squirrelly going on within the movie’s reality, always accepting the moment they’re in as though that’s the only possible moment. But is Judith a brilliant, driven journalist or a fraudulent naif who should go back to being a pharmacist (or, as Dali insists a boulangère, which means “baker,” though it is somewhat mystifyingly translated to “barista.”) Is Jerôme an endlessly forgiving, deep-pocketed benefactor or a nasty tyrant with an edge of sexism? Does the priest kill the cowboy or does the cowboy kill the priest?

Dalí alone (in conspiracy with the viewer) encounters all these versions of events, and even encounters himself: as a spry mid-life adult he glimpses the creaky elder Dalí in a wheelchair, and rather forlornly begins to suspect that he, the great, impossible genius, like the very least of us, has no control over how time happens to him. Or to put it another way, quoting a bundle of sackcloth of our recent acquaintance, he realizes with frothily comedic bounce and just a soupçon of philosophical depth, that this bullshit never ends.

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Salvador Dalí is walking down a hotel

Beloved game show icon Bob Barker recently passed away at the age of 99 on Saturday, August 26, 2023.

Barker’s game show career started in 1956 when he began hosting the NBC series Truth or Consequences, but his big break came in 1972 when he signed on to become the host of The Price is Right.

His dapper appearance and his friendly personality helped make the CBS game show a success. After 35 years of hosting, Barker decided to retire in 2007, and Drew Carey later took over as the new host.

Aside from his game show hosting gigs, Barker guest-starred in several films and TV series. One of his most memorable cameos was in the 1996 Adam Sandler-led comedy film Happy Gilmore.

Barker, who plays himself, teams with Sandler’s character Happy for a charity golf tournament. Tension erupts as the men fall into last place in the tournament. The two exchange words before things turn physical with Barker coming out the winner in their fight.

Bob Barker did all his stunts for Happy Gilmore fight scene

Barker and Sandler’s fight in Happy Gilmore is one of the greatest scenes in movie history. Sandler and director Dennis Dugan were ecstatic that the game show host agreed to the cameo. They were also surprised at Barker’s dedication to his performance.

Dugan was going to have a stunt double fill in for Barker, but the host refused. Barker, who was 72 at the time, insisted on doing his own stunts. In a 2013 interview with CBS, Barker recalled his performance in the film.

“The director came in and he said, ‘Bob, don’t worry about the fight.’ He said, I have a stunt man he’ll do the fight scene. I said, ‘Wait a minute…I know how to fight.’ I said, ‘I want to do the fight scenes. I want to win the fight.

He said, ‘Alright.” So I did it.”

Although Barker and Sandler were enemies onscreen, in real life the two got along great. After news of Barker’s death was confirmed, Sandler paid tribute to his co-star in a social media post.

“The man. The myth. The best. Such a sweet funny guy to hang out with. Loved talking to him. Loved laughing with him. Loved him kicking the crap out of me”

Are you a fan of The Price is Right? Keep up to date with Culturess for more celebrity news and coverage. 

 

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Beloved game show icon Bob Barker

Prince William will be travelling to the US next week, but it appears he won’t be taking quite the same path as his younger brother, and has turned down interview requests with all the major networks.

The Times of London reports that William, the Prince of Wales, will be stepping up his global statesman duties in the coming years, and this trip will concentrate on his high-priority Earthshot project, a £50million environmental award he is spearheading to inspire solutions to climate change. Winners will be announced later in the year in Singapore, at an event attended by William and his wife Kate.

The Award is now in its third year, and William will be in Boston to announce this year’s 15 finalists. With this his focus, while The Times says that all the major US networks have bid for interviews with the prince, the answer is a uniform no.

This is in contrast to his brother Harry, who went on a media blitz at the beginning of the year to promote his memoir Spare, in which he listed his problems growing up in the British royal family, and specifically targeted his brother for his attitude to Harry’s wife Meghan Markle. Details of a physical fight between the two siblings were also included – an incident William has never publicly referred to.

During his US trip, which will come in New York climate week, William will meet the UN secretary-general, António Guterres, hold meetings with delegations from Ecuador and Vanuatu, and wade into the Hudson River to showcase a pioneering water project.

His trip will come a week after his brother Harry presides over the Invictus Games in Dusseldorf, as the founder of the sporting event for injured military personnel the world over.  

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Prince William will be travelling to the

Over the past few years, we’ve seen a number of movies set at the height of the COVID-19 pandemic. This makes sense, given just how much happened during that time in history. The latest of these projects is director Craig Gillespie’s upcoming biographical dramedy Dumb Money, which is about the infamous WallStreetBets GameStop scandal. The movie’s cast is unreal, and actually made me interested in the stock market after being clueless about how that system works.

The Toronto International Film Festival is currently underway, and Dumb Money is one of the many upcoming projects that got its world premiere this year. The movie’s title refers to amateur traders who can sometimes lose their money to major money managers and hedge funds. The true story revolves around a reddit page titled r/WallStreetBets, which united in 2021 to purchase stocks at GameStop and squeeze hedge fund companies. 

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Norwegian filmmaker Kristoffer Borgli is obsessed with the internet’s effect on the collective unconscious, and — in turn — the collective unconscious’ effect on individual self-image. In other words, he makes extremely online movies about modern fame. 

Borgli’s scabrous debut feature, “Drib,” was an unclassifiable meta-satire about 21st century marketing, and his follow-up, “Sick of Myself,” told the story of a beautiful young barista so desperate for attention that she begins taking massive doses of an underground Russian club drug that causes the flesh to rot off her bones just so that people might look at her. His third and most complete film, the hilariously surreal (and comparatively sweet) “Dream Scenario,” is a Kaufman-esque cautionary tale starring Nicolas Cage as a nerdy college professor who spontaneously begins appearing to perfect strangers around the world in their sleep. A meme without a modem. At first it’s a novelty, then it’s a blessing, and then it’s a nightmare. Attention is nice, but buyer beware: You have no control over how other people see you in their heads. 

Before it becomes what Borgli describes as one of his “constructive bullyings of our collective behavior,” “Dream Scenario” is simply the best absurdist comedy of its kind since “Anomalisa” (the Kaufman connection being further cemented by a Cage performance that feels like it was born from superimposing both of his “Adaptation” characters on top of each other. …And also by a running joke about antkind). We first meet Paul Matthews — bald, goofy, and nasal-voiced to an extent that suggests the inside of his head is just a single giant nasal polyp — in a dream that one of his two daughters is having. It’s a dream that all too accurately caricatures his general vibe of abject uselessness: Various objects fall from the sky (keys, shoes, a human being) and threaten to crush his teenage daughter to death as Paul rakes leaves by the pool, and yet he doesn’t move a muscle to intervene. He just stands there. He doesn’t even have the “Force Majeure” instinct for self-preservation. 

Generally it would seem like Paul is a big fucking loser, but he’s tenured at the local university, his kids seem to like him well enough, and he’s married to Julianne Nicholson; by the standards of an unpublished evolutionary biologist professor who sounds like Steve Urkel and wishes that he could take his own face off, our man is doing just fine. But there’s always a part of you that wants more, and that’s the part that tends to get you into trouble. Sure, Paul may have taken his wife’s last name, and yes, someone who teaches their students about the Darwinian effectiveness of zebra stripes — which help the animals to survive by allowing them to blend into the herd — should probably know better, but he can’t help but want a little recognition, even if it might attract some predators along the way. 

So yeah, Paul’s not exactly mad when an ex-girlfriend comes out of the woodwork to reveal that she’s been dreaming of him all the time. She can’t imagine why her subconscious brain is fixated on such an unremarkable person from her past (and why it has Paul just stand there regardless of what else is happening in the chaos of her sleeping mind), but it seems worth mentioning. And soon after that, like a hyper-accelerated version of the Mandela Effect, hundreds of other people begin seeing Paul in their dreams as well. And then thousands. And then, just as he reaches the tipping point required to become a new kind of viral celebrity, what he does in people’s dreams begins to change.

Borgli may have had some trouble scaling the body horror in “Sick of Myself,” but the elastic premise of his latest script offers him no such trouble; for all of the high-concept semi-comedies that we get these days, precious few have had this much fun just following their own rules to logical conclusions. The sight of a bearded Cage apathetically standing on the sidelines as someone is ripped apart by a blood demon conjured by their own subconscious is inherently funny stuff (Ari Aster is one of the film’s producers, and his fingerprints are all over it), and Paul’s general befuddlement over the situation in his waking life is likewise the stuff of reliable comic gold. There’s a shit-eating aspect to how much he delights in the newfound attention, and the only predictable thing about this movie is that Paul is going to follow a similar trajectory to John Cusack’s ego-driven puppeteer in “Being John Malkovich,” but the first half of “Dream Scenario” thinks of him with the sweetness of an unassuming nobody who happened to go viral without trying. Like Ken Bone, but somehow even less savvy. 

It’s only when Paul’s role in other people’s dreams begins to evolve that he starts entertaining the full possibilities of his latent fame, and Borgli similarly leaps at the chance to make the most of it. What he does with that chance looks very different than, say, what the Daniels recently created from a scenario that allowed them to violate the boundaries of conventional logic, but the results of Borgli’s cringe-driven minimalism are almost as uproarious. 

What comes of Paul’s meeting with a branding agency led by Michael Cera is best left for audiences to discover themselves (incepting Obama is just the tip of the iceberg), but one close-up of Dylan Gelula biting her lip in Paul’s general direction — the “Her Smell” actress playing Cera’s assistant with equal parts ironic detachment and psychosexual lust in a performance funny enough to carry the entire movie — is enough to get a basic idea of what comes next. Being in people’s heads all the time is a strange and powerful thing, and very few (if any) films have better or more literally illustrated how the human brain hasn’t evolved to handle such a complete lack of mental boundaries. 

Considering how inevitable it becomes that “Dream Scenario” will veer toward cancel culture in its third act, it’s a shame that Borgli struggles to have more fun with that part of Paul’s trajectory. His imagination dries up a bit as the worm starts to turn on the professor’s fame, and while the film’s basic conceit offers an ultra-lucid expression of how it might feel to be shunned by strangers for something you feel like you didn’t even do (Paul’s actions in other people’s dreams being perhaps more tangibly upsetting to the public than a bad tweet, but still just as divorced from physical reality), this last stretch of the story is far too earthbound to land with the same absurdist force as the rest of it. 

If “Dream Scenario” never risks curdling into the same kind of nightmare that it visits upon its characters, that’s because of how delicately it dolls out its sympathies. Paul is every bit as pathetic and annoying as any of the online personalities we live with every day, but he’s also at the mercy of a mental construction that has very little to do with him, and so the “cancel culture” of it all saves itself from being too obvious — or, on the other hand, too trollish — because we can never quite pin down the extent to which he deserves to be a pariah. At the end of the day, what Paul is most guilty of is losing track of what’s real; of prioritizing his role in the collective unconscious over the one he plays for the people who actually care about him in real life. And in that way, “Dream Scenario” doesn’t represent a groundbreaking new form of comedy so much as it resolves into an ingeniously modern riff on the most classic of morals: Love is everything, and likes are only good for selling books.

Grade: B+

“Dream Scenario” premiered at the 2023 Toronto International Film Festival. A24 will release it in theaters on Friday, November 10.

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Norwegian filmmaker Kristoffer Borgli is obsessed with

Jane Slagsvol, Jimmy Buffett‘s wife, shared a letter on Saturday (Sept. 9) filled with gratitude for those who surrounded the pair and showed support throughout Buffett’s illness and career. The “Margaritaville” singer/songwriter died at age 76 at his home in Sag Harbor on Long Island, New York, on Sept. 1 from skin cancer.

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“Jimmy was love,” she wrote in tribute to her late husband. “Every cell in his body was filled with joy. He smiled all the time, even when he was deeply ill. And his sense of humor never wavered. Jimmy was always the optimist, always twinkling, always making us laugh.”

Slagsvol’s note was published on Buffett’s official website, along with two personal photos of the couple, who married in 1977 and shared three children together.

“As Jimmy said a few months ago, ‘Growing old is not for sissies.’ These last few years have been unimaginably challenging for Jimmy and me, and we’re definitely not sissies. One thing we both knew and experienced, through every difficult moment, was the feeling of being buoyed up by all the people in our lives. Everywhere we went, at arenas, at events, and even in the hospitals, we were surrounded by love. There is a whole world of people I want to thank for the incredible kindness you showed us,” she wrote.

“Since those early days and all through the decades, Jimmy’s fans became a big, boisterous family,” said Slagsvol. “Thank you for creating the world’s most joyful community. The smile that Jimmy beamed at you from the stage was sparked by your spirit. I think that’s why he loved performing so much. He was so grateful to the community you built around him. Your sympathy and support inspire and comfort me and my family.”

Renowned for his wildly enthusiastic fans, known as “Parrotheads,” Buffett had 13 Billboard Hot 100 charting singles, including seven top 40 hits and one top 10, and 40 entries on the Billboard 200 albums chart throughout his career.

“To the teams of doctors, nurses, hospice workers, and caregivers, your compassion was overwhelming in the best possible way,” Slagsvol wrote of the care received by Buffett, who battled Merkel cell skin cancer for four years. “Jimmy listened to everything you said and followed your every order. You gave him hope, even at the most hopeless moments. Thank you for your tenacity in seeking the best solutions at each stage of his illness. You were honest, brave, and empathic; you showed us such dignity and goodness. I could not have asked for a better team of professionals.”

She went on to thank the people who’ve worked with Buffett — “We know that we’ve surrounded ourselves with the best, most honorable, most generous people, and we know how fortunate we have been for all these years,” the letter read — and the pair’s “gracious, generous and kind” friends. “Jimmy brightened telling you stories over long dinners as the cicadas sang,” she recalled. “He loved occupying his place at the head of the table, looking at the people he cherished. You created a microclimate of affection that surrounded us like the sun. It gave us hope; it felt like a celebration even when things were grim.” Slagsvol also expressed her love for her family.

“One of the last songs Jimmy recorded was ‘Bubbles Up.’ He sings, ‘Just know that you are loved, there is light up above, and the joy is always enough. Bubbles up.’ Jimmy knew he was loved. Right until the end, he looked for the light,” she wrote.

“Bubbles Up” is on Buffett’s posthumous album, Equal Strain on All Parts, which will be released on Nov. 3.

Read “A Message From Jane” in its entirety on Buffett’s website here.

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Jane Slagsvol, Jimmy Buffett‘s wife, shared a

Salvador Dalí is walking down a hotel corridor. A hotel corridor is being walked down by Salvador Dalí. In a hotel, there is a corridor down which Salvador Dalí walks. So begins — and begins and begins – Quentin Dupieux’s giddy, glitchy altogether delightful “DAAAAAALI!” (imagine the title delivered by a practised yodeler in the middle of a morning gargle). It’s the oldest and lo-fi-est of cinematic tricks: a few simple cuts make it seem like a hotel hallway’s finite, solid space is elastic, stretching from the lift doors into carpeted absurdity. Like the film as a whole, the gag gets funnier as it gets sillier, and becomes more of a homage to the surrealist painter’s ability to warp the reality around him, the more drunken its time-loop chronology. “A story should have a beginning, a middle and an end, but not necessarily in that order,” quoth Godard, but “DAAAAAALI!” does him one better by having maybe three beginnings, six middles and four or five endings, none of them coming where they’re supposed to, all of them landing in the right place. 

At the other end of the untrustworthy hallway, nervous pharmacist-turned-journalist Judith (Anaïs Demoustier) waits for Dalí, who is at this moment played by Édouard Baer, but will at other times be performed by Gilles Lellouche, Jonathan Cohen, Pio Marmaï and Didier Flamand, each different in age and body-shape but the same in mustache and mannerism. Rolling his “r”s even where there are none, Dalí’s every word and gesture is that of a magician mid-flourish  — although clad impeccably in fur cape and suit, his bearing as erect as the cane he carries and his delivery as stiff as his wax-tipped mustache, there is an irrepressible theatricality to everything he says and does. Eventually conquering the hallway, he settles into an armchair to suffer Judith to interview him, then immediately settles out of it again when he realizes the piece is for print, and not to be filmed. Dalí, like Dupieux, has a profound belief that only the arts “cinématogrrrrrraphique” are equipped to portray his personality, which he regards as his crowning artistic achievement. 

Later (though it is also earlier) Judith phones Dalí, interrupting his painting of a scene we’ve already noted, finished, in the background of a prior TV interview. Dupieux’s restaging of some of Dali’s iconography is a witty little bit of business in itself, imagining that he did not simply paint from his mind, but created practical versions of his surreal setups and transcribed them faithfully. So when Judith’s call comes in, a man with an elongated head and another with a handkerchief in his mouth, posing in front of a ruined farmhouse, get to take a break. A pile of rags in the corner suddenly erupts in impatience, a voice from within complaining “This bullshit never ends!” 

Judith is asking for a second chance. She has secured the interest of a producer Jerôme (Romain Duris) who is enthusiastic about filming her interview, and promises Dalí “the biggest camera in the world.” This appeals to the man’s monstrous, third-person ego, but when that encounter also falls apart, Judith will try and try again, sometimes getting oh so close, sometimes getting nowhere. Not that we can be sure any of this is happening at all. It could all be part of a dream, recounted to Dalí at a dinner party, by a priest who either shoots or is shot by a cowboy, while the guests, including a stentorian Gala Dalí (Catherine Shaub-Abkarian, stiffly enigmatic beneath high-piled, half-up 1940s hair) enjoy a goat-skull stew teeming with maggots. Dalí hoovers it up with the gusto of one spitting it out played in reverse, because that is exactly what’s happening.  

It is fitting, given their frequent collaborations, that “DAAAAAALI!” should so amiably mimic the tone and tenor of Luis Buñuel’s surrealist classics, especially in actions that are, like the stew-eating, filmed backwards and played forwards, or that are daisy-chained together under the irresistibly catchy, Spanish-guitar roundelay of Thomas Bangalter’s score. In this discreetly charming way, in the course of a trim 78-minute runtime, Dali finds himself trapped in the quicksands of time unable to escape a dreamscape-type life entirely of his own devising. But Dupieux injects his own particular brand of daffy humor too, writing, directing, shooting and editing his movie, cutting it along a bias that is familiar to those of us who’ve been paying attention to his recent run of form, from “Mandibles” to “Incredible but True” to “Smoking Causes Coughing” to “Yannick,” his excellent 67-minute bottle episode that premiered just last month in Locarno. 

But maybe the director’s greatest feat here is that despite the five different actors and all the background nonsense, he makes the beloved, mercurial madman the most consistent presence amid all the other, far more normcore characters. Nobody else seems to notice anything squirrelly going on within the movie’s reality, always accepting the moment they’re in as though that’s the only possible moment. But is Judith a brilliant, driven journalist or a fraudulent naif who should go back to being a pharmacist (or, as Dali insists a boulangère, which means “baker,” though it is somewhat mystifyingly translated to “barista.”) Is Jerôme an endlessly forgiving, deep-pocketed benefactor or a nasty tyrant with an edge of sexism? Does the priest kill the cowboy or does the cowboy kill the priest? Dalí alone (in conspiracy with the viewer) encounters all these versions of events, and even encounters himself: as a spry mid-life adult he glimpses the creaky elder Dalí in a wheelchair, and rather forlornly begins to suspect that he, the great, impossible genius, like the very least of us, has no control over how time happens to him. Or to put it another way, quoting a bundle of sackcloth of our recent acquaintance, he realizes with frothily comedic bounce and just a soupçon of philosophical depth, that this bullshit never ends.

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Salvador Dalí is walking down a hotel

The U.S. Court of Appeals for the 5th Circuit on Friday ruled that the Biden White House, top government health officials and the FBI likely violated the First Amendment by improperly influencing tech companies’ decisions to remove or suppress posts on the coronavirus and elections.

The decision, written unanimously by three judges nominated by Republican presidents, was likely to be seen as victory for conservatives who have long argued that social media platforms’ content moderation efforts restrict their free speech rights. But some advocates also said the ruling was an improvement over a temporary injunction U.S. District Judge Terry A. Doughty issued July 4.

David Greene, an attorney with the Electronic Frontier Foundation, said the new injunction was “a thousand times better” than what Doughty, an appointee of former president Trump, had ordered originally.

Doughty’s decision had affected a wide range of government departments and agencies, and imposed 10 specific prohibitions on government officials. The appeals court threw out nine of those and modified the 10th to limit it to efforts to “coerce or significantly encourage social-media companies to remove, delete, suppress, or reduce, including through altering their algorithms, posted social-media content containing protected free speech.”

The 5th Circuit panel also limited the government institutions affected by its ruling to the White House, the surgeon general’s office, the Centers for Disease Control and Prevention and the FBI. It removed restrictions Doughty had imposed on the departments of State, Homeland Security and Health and Human Services and on agencies including the U.S. Census Bureau, the National Institute of Allergy and Infectious Diseases, and the Cybersecurity and Infrastructure Security Agency. The 5th Circuit found that those agencies had not coerced the social media companies to moderate their sites.

Read the 5th Circuit’s ruling

The judges wrote that the White House likely “coerced the platforms to make their moderation decisions by way of intimidating messages and threats of adverse consequences.” They also found the White House “significantly encouraged the platforms’ decisions by commandeering their decision-making processes, both in violation of the First Amendment.”

A White House spokesperson said in a statement that the Justice Department was “reviewing” the decision and evaluating its options.

“This Administration has promoted responsible actions to protect public health, safety, and security when confronted by challenges like a deadly pandemic and foreign attacks on our elections,” the White House official said. “Our consistent view remains that social media platforms have a critical responsibility to take account of the effects their platforms are having on the American people, but make independent choices about the information they present.”

Social media injunction unravels plans to protect 2024 elections

The decision, by Judges Edith Brown Clement, Don R. Willett and Jennifer Walker Elrod, is likely to have a wide-ranging impact on how the federal government communicates with the public and the social media companies about key public health issues and the 2024 election.

The case is the most successful salvo to date in a growing conservative legal and political effort to limit coordination between the federal government and tech platforms. This case and recent probes in the Republican-controlled House of Representatives have accused government officials of actively colluding with platforms to influence public discourse, in an evolution of long-running allegations that liberal employees inside tech companies favor Democrats when making decisions about what posts are removed or limited online.

The appeals court judges found that pressure from the White House and the CDC affected how social media platforms handled posts about covid-19 in 2021, as the Biden administration sought to encourage the public to obtain vaccinations.

The judges detail multiple emails and statements from White House officials that they say show escalating threats and pressure on the social media companies to address covid misinformation. The judges say that the officials “were not shy in their requests,” calling for posts to be removed “ASAP” and appearing “persistent and angry.” The judges detailed a particularly contentious period in July of 2021, which reached a boiling point when President Biden accused Facebook of “killing people.”

“We find, like the district court, that the officials’ communications — reading them in ‘context, not in isolation’ — were on-the-whole intimidating,” the judges wrote.

The judges also zeroed in on the FBI’s communications with tech platforms in the run-up to the 2020 elections, which included regular meetings with the tech companies. The judges wrote that the FBI’s activities were “not limited to purely foreign threats,” citing instances where the law enforcement agency “targeted” posts that originated inside the United States, including some that stated incorrect poll hours or mail-in voting procedures.

The judges said in their rulings that the platforms changed their policies based on the FBI briefings, citing updates to their terms of service about handling of hacked materials, following warnings of state-sponsored “hack and dump” operations.

The judges, however, found some of the government communications enjoined by the district court to be permissible, including those of former chief medical adviser to the president, Anthony S. Fauci. They said the record did not show that Fauci communicated directly with the platforms and said his efforts to promote the government’s scientific and policy views did not “run afoul of the First Amendment.”

They also found that the lower court erred in barring CISA’s interactions with the companies, finding that its efforts to flag content to the platforms did not amount to “attempts to coerce” the companies’ moderation decisions.

Chris Krebs, the CISA chief fired by Trump over his endorsement of the 2020 election result, said he found the ruling “reassuring.”

“As it relates to CISA, this ruling eviscerated the district court decision,” Krebs said.

The judges also said there was no evidence that the State Department’s communications with the platforms “went beyond educating the platforms on ‘tools and techniques’ used by foreign actors.”

The Justice Department did not immediately respond to requests for comment, and it was not immediately clear if it would appeal the ruling. The order will take effect in 10 days, unless the government seeks intervention from the Supreme Court.

The Justice Department had argued that Doughty’s ruling was overly broad and could “chill” a wide range of lawful communications between the government and social media companies, especially in the face of public emergencies.

The FBI, Google and Meta declined to comment. X and the surgeon general’s office did not immediately respond to requests for comment.

Any appeal of the order would bring the debate over online speech before the Supreme Court, which is already expected to take up conflicting appeals court rulings over state social media laws this year.

Evelyn Douek, assistant professor at Stanford Law, said the case was a “strong candidate for the Supreme Court to weigh in, given the law isn’t clear, the issues are so important, and courts have come to different conclusions.”

Douek said the 5th Circuit “paints with a slightly less broad and more careful brush than the district court did.” But she warned the decision “lumps together lots of different kinds of government speech in a way that papers over a lot of nuance.”

Biden administration urges Supreme Court to block Texas social media law

The 5th Circuit ruling reversed Doughty’s order specifically enjoining the actions of leaders at DHS, HHS and other agencies, saying many of those individuals “were permissibly exercising government speech.”

“That distinction is important because the state-action doctrine is vitally important to our Nation’s operation — by distinguishing between the state and the People, it promotes ‘a robust sphere of individual liberty,’” the 5th Circuit judges wrote.

Yet Friday’s order still applies to a wide range of individuals working across the government, specifically naming 14 White House officials, including five who are no longer in office. The order specifically names Surgeon General Vivek H. Murthy and another member of his office, three CDC staffers and two FBI officials, including the head of the foreign influence task force and the lead agent of its cyber investigative task force in San Francisco.

White House press secretary Karine Jean-Pierre is among the White House officials named.

Stanford Law School professor Daphne Keller said the 5th Circuit’s ruling appeared to allow “a lot of normal communications as long as they are not threatening or taking over control of platforms’ content decisions.”

“But it also says they can’t ‘significantly encourage’ platforms to remove lawful content, so the real question is what that means,” she said.

Friday’s decision came in response to a lawsuit brought by Republican attorneys general in Louisiana and Missouri who allege that government officials violated the First Amendment in their efforts to encourage social media companies to address posts that they worried could contribute to vaccine hesitancy during the pandemic or upend elections.

Missouri Attorney General Andrew Bailey celebrated the decision as a victory in a statement.

“The first brick was laid in the wall of separation between tech and state on July 4,” he said. “Today’s ruling is yet another brick.”

Menn reported from San Francisco.

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Diana Nyad was a swimming legend, a stellar athlete in the 1970s who achieved great things her sport, and then went on to a successful decades-long career in the broadcast booth for ABC Sports, ESPN and elsewhere.

But the new movie Nyad from Oscar-winning documentary filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo, The Rescue) isn’t about any of that. Rather, it’s a movie about a woman with a singular focus that seeks to plumb the depths of what drove her.

“Imagine knowing you could do something that no one else could do,” says Bening’s Nyad at one point in the trailer.

Logline: A remarkable true story of tenacity, friendship and the triumph of the human spirit, Nyad recounts a riveting chapter in the life of world-class athlete Diana Nyad. Three decades after giving up marathon swimming in exchange for a prominent career as a sports journalist, at the age of 60, Diana (four-time Academy Award nominee Annette Bening) becomes obsessed with completing an epic swim that always eluded her: the 110 mile trek from Cuba to Florida, often referred to as the “Mount Everest” of swims. Determined to become the first person to finish the swim without a shark cage, Diana goes on a thrilling, four-year journey with her best friend and coach Bonnie Stoll (two-time Academy Award winner Jodie Foster) and a dedicated sailing team. 

This film marks the narrative directorial debut of Oscar-winning documentary filmmakers Chai Vasarhelyi and Chin. NYAD is produced by Andrew Lazar and Teddy Schwarzman with a screenplay by Julia Cox, adapted from the memoir Find a Way by Diana Nyad. In addition to Bening and Foster, the cast includes Rhys Ifans, Ethan Jones Romero, Luke Cosgrove, Jeena Yi and Eric T. Miller.

Nyad debuted at Telluride and will be at Toronto, as well.

The film is being released in select theaters October 20 and will drop on Netflix November 3.

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Diana Nyad was a swimming legend, a stellar athlete

Michael Chaves, the director behind “The Nun 2,” revealed in a recent interview with Entertainment Weekly that he made the film even gorier after a test screening proved that audiences craved a higher level of violence.

“People wanted more violence,” Chaves said. “There was already a good degree of violence and gore in the movie, but people wanted more of it.”

The film, which had its theatrical release on Sept. 8, follows Sister Irene (Taissa Fargima) as she faces supernatural forces following the murder of a priest in 1956 France. Chaves explained how the crew behind the film, which is a part of the long-running “The Conjuring” franchise, put in extra work to increase the carnage.

“So, we did a little bit of additional photography and we ramped that up. It just goes to show how audiences are always changing, evolving. Even in the earliest version, it was more [violent] than what was in your traditional ‘Conjuring’ movie,” he said.

He added that his team was more than amenable to the desires of horror fans.

“I think horror audiences have been on this journey, this horror renaissance, where they’ve seen a lot of horror movies, they’ve seen a lot of violence. It’s something they wanted more of and we gladly gave it,” he continued.

Chaves, who previously directed 2021’s “The Conjuring: The Devil Made Me Do It,” also discussed how working on the popular horror franchise affects his sleep.

“My ‘Conjuring’ nightmares usually center around the logistics of work and schedule,” he said. “Even with a great schedule and an amazing crew, it still seems like you never quite have enough time and my dreams usually center around that.”

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Michael Chaves, the director behind “The Nun

—hightiderider

“That was the only time ever in my life that I had specifically pictured a celebrity in my head as the character, where I was reading the books before the movies ever came out. Somehow, I had ALWAYS from day one pictured Lenny Kravitz. And then, when they cast him, it was like, yeah, because that’s the only answer.”

—tu-BROOKE-ulosis

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—hightiderider"That was the only time

The Saturday night premiere of the documentary “Lil Nas X: Long Live Montero” at the Toronto International Film Festival was delayed after a bomb threat was called in, multiple sources close to the artist confirmed to The Times.

The news was first reported by Variety, which said that the threat specifically targeted the “Old Town Road” rapper for being a Black queer artist.

TIFF Vice President, Public Relations & Communications Judy Lung would not confirm that the threat was aimed at Lil Nas X.

“Earlier this evening, we were made aware by the Toronto Police Service of an investigation in the vicinity of the red carpet for the ‘Lil Nas X: Long Live Montero’ screening,” Lung wrote in a statement to The Times. “Our standard security measures remained in place during this time and the screening commenced with a slight delay. To our knowledge, this was a general threat and not directed at the film or the artist.”

The screening at TIFF’s Roy Thomson Hall, home to the festival’s gala events, was delayed by some 20 minutes as authorities determined the threat was not credible. Lil Nas X was held from arriving on the red carpet before he joined directors Carlos López Estrada and Zac Manuel and entered the building, at which point the screening proceeded as planned. A source who was inside the venue told The Times that attendees were not informed about the threat.

In reviewing Lil Nas X’s debut full-length album, “Montero,” Times pop music critic Mikael Wood wrote, “He’s framed the steps in his unlikely journey — as a Black kid trying to break into country music, as a gay man making hip-hop — in richly emotional terms, which means his audience shares in his triumphs while his detractors come off like scolds. And scolds he’s definitely got: Making himself a queer Black sex object was a radical act.”

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TORONTO —  The Saturday night premiere