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.”
“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.”
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.”
If the strikes continue through the rest of the calendar year, the MCU’s Phase 5 projects could see even more delays with Disney+ shows and theatrical films.
Marvel Studios Delayed Seven Phase 5 Shows
In a recent report from The Hollywood Reporter, seven upcoming MCU television series set to debut on Disney+ were officially delayed due to the ongoing WGA and SAG-AFTRA strikes.
Some of the projects were even set to hit the streaming platform before the end of 2023 but were forced to be moved back.
With that being said, here are all seven Phase 5 shows that were officially delayed:
Echo
Marvel
Echo was originally set to premiere on Disney+ on November 29, but the series was pushed back to January 2024. Instead of releasing one episode per week as all previous live-action MCU shows have, all six episodes of Echo were going to hit the platform on that same premiere date.
Echo‘s delay comes as a bit of a surprise, as many reports and rumors stated that it would still meet its initial release date of November 29 despite the ongoing strikes. It is also important to remember that Disney is in the midst of some cutbacks and cost-cutting initiatives, however, which could be one factor in the show being moved to 2024.
What If…? Season 2
Marvel
The next MCU title that had its release date shifted was Season 2 of the animated What If…? series. Originally set to come out in early 2023, What If…? Season 2 was then delayed indefinitely. However, it is now eyeing a release window of sometime around Christmas 2023.
Seeing as how Christmas Day (December 25) is on a Monday, and the MCU has historically debuted new Disney+ episodes on either Wednesdays or Fridays, What If…? Season 2 could potentially hit the streaming platform on Friday, December 22, Wednesday, December 27, or Friday, December 29.
X-Men ’97
Marvel
X-Men ’97 is another animated project that was officially delayed. The show was initially supposed to come out on Disney+ sometime in fall 2023. However, it was moved back to an ‘Early 2024’ release window, without a specific date attached.
The upcoming show will be a continuation of the animated series that premiered throughout the 1990s, and it was even teased that a Season 2 is already in the works.
Ironheart
Marvel
Dominique Thorne’sRiri Williams was first introduced in Black Panther: Wakanda Forever, but even before the first time she was seen on-screen, fans were already expecting a solo project centered around the character to hit Disney+ in fall 2023.
That show, which is titled Ironheart, was reportedly moved back to sometime in 2024, but it was just recently delayed officially, with no release window attached. The ongoing strikes were noted as the reason for the delay.
However, its delay just recently became official, and the witchy project is now set for a timely premiere in Fall 2023 in the lead-up to Halloween.
Daredevil: Born Again
Marvel
Daredevil: Born Again immediately became one of the most anticipated upcoming projects in the entire Phase 5 slate when it was initially announced.
However, fans will have to wait a bit longer than expected to see it finally hit Disney+, as its production was halted due to the strikes. The show was originally scheduled to come out in spring 2024, and it’s now likely that it will not premiere until 2025.
Wonder Man
Marvel
Wonder Man is yet another future Phase 5 MCU show that was officially delayed. Not much is currently known about the project as a whole aside from it starring Yahya Abdul-Mateen II in the titular role and centering around a superhero in Hollywood.
Wonder Man never had an official release window on Disney+, but it was in the middle of production when it was shut down due to the strikes.
The MCU will next be heard from on Disney+ when Loki Season 2 hits the service on October 6.
Creature Commandos, an animated series from the new DCU franchise, is one of the first projects to be released and aims to surprise audiences.
The show will introduce lesser-known characters to new generations, portrayed by popular actors such as Frank Grillo and David Harbor.
Director James Gunn is excited about the series, promising that it will be different from what people expect, and it will not be affected by the ongoing strike in the industry.
Creature Commandos is, along with Superman: Legacy, one of the few projects from the new DCU that’s been in development for a while now, since it’ll be one of the first ones to see the light. James Gunn hopes the animated series will surprise everyone.
Back in January, the co-CEOs of DC Studios shared a list of the first batch of movies and tv shows that will form the forst “chapter” in the revamped DCU, titled Gods & Monsters. This list includes films starring Superman, Batman and Supergirl, and series centered on the Green Lantern universe, Booster Gold, Swamp Thing and much more.
Among the more obscure projects announced was an animated adaptation of the team created by J. M. DeMatteis and Pat Broderick in the 1980s, Creature Commandos. This will be the first animated show from Gunn and Safran’s DCU, and will introduce some not-so-popular characters to a new generation. The cast is led by Frank Grillo as Rick Flag Sr, Maria Bakalova as Ilana Rostovic, Indira Varma as The Bride, Zoe Chao as Nina Mazursky, Alan Tudyk as Dr. Phosphorus, David Harbour as Eric Frankenstein, and Sean Gunn as G.I. Robot.
This will be an ambitious project for the studio, especially as Gunn confirmed that if a star joins the franchise to play an animated character, that character will be played by the same actor if they should cross into live-action. it’ll be played by the same actor.
Answering fans on his Instagram page as he usually does (courtesy of Reddit user DCEUleaks), Gunn shared his excitement for the upcoming show, while also confirming it is one of the few productions currently not affected by the strike:
“It’s animated so it’s separate from the strike. We’re working on it. I love it. I think it’s going to be so different than what people expect.”
Stranger Things’ David Harbour recently spoke about the show too, claiming it’s one of the best things Gunn has ever done. For now, no details have been shared about the plot of the series, which will have seven episodes in its first season, and will take place before Superman: Legacy, chronologically.
Creature Commandos appeared for the first time in Weird War Tales #93, and started as part of Project M, a government organization specializing in biotechnology. Its members are a group of metahumans created especially to fight during World War II. A modern version of the group was introduced in 2000, created by writer Tim Truman and illustrator Scot Eaton.
No release date has been confirmed yet for the animated series, but rumors claim it will arrive next year, which means it’ll be the first official project from the new DCU to see the light, since Superman: Legacy will be release in 2025, if it doesn’t get delayed due to the strikes.
This isn’t your parent’s Lotus. The British maker, once famous for ultra-lightweight sportscars that had no room for creature comforts like air conditioning, heated seats, or even doors, is now part of the family, with designs on a big international presence with big sales.
That’s going to require bigger cars, and while the was something of a first big departure for the company, the Emeya is a quick second-act. The Emeya is a four-door sedan with a swoopy, coupe-like profile, comfortably seating four and, Lotus says, offering somewhere around 300 miles of range from a 102kWh battery pack.
That’s quite good range for a car that will offer up to 905 horsepower and that can sprint from 0 – 60 mph in less than 2.8 seconds. Quick, yes, but as a grand tourer, the idea is comfort and luxury, and that the Emeya has in spades. But will it be good enough to convert the Lotus faithful? That we won’t know until sometime in 2024, when this enters production. Watch the video below for the full story.
One of the major advantages of film school is that professors actively encourage you and give you deadlines to write, shoot, and/or edit. When you graduate, that all goes away. I got a job right out of school that I simply could not refuse: I was a content creator making educational content for filmmakers at Aputure Lighting. The hours were long, and while it was fun to flex my creative muscles at work, I often came home drained.
For this reason and millions more, I put off the writing process for nearly two years. With less than a month to get a thesis script greenlit, I stumbled upon a catalog for my local Community College. They were offering a comprehensive 4-week Screenwriting 101 class. I had my reservations about it, but signed up blindly, hoping my teacher would help me stay accountable and finish my short script.
Writing What You Know
‘Petunia’
Credit: Petunia Short Film
After all those years of trying to find a script that was emblematic of me, I first had to dig deep. About a year before writing this script, our newly adopted kitten, the titular Petunia, had to tragically be euthanized. Several of his organs weren’t fully formed from birth, we were blindsided, he had been acting completely normal just days before.
My fianceé and I struggled for months; grappling with feelings of failure, grief, and depression. We were cagey about the situation, not wanting others to think we did a “bad job” with the first pet we ever adopted. Once we felt that we had fully grasped and recovered from the trauma of Petunia’s passing, I asked for my fianceé’s blessing to tell Petunia’s story, and she granted it.
The writing process was grueling but fast. The story was all there, the beats were simple, and it poured out of me once the floodgates opened. It was tender to revisit, revise, and edit. This is where Screenwriting 101 was instrumental; I was interacting with a dozen strangers whom I may never see again. I could be completely vulnerable and raw with my story. In less than a month the script was locked, and it was time to figure out how to make it.
Work
Behind-the-scenes of ‘Petunia’
Credit: Lydia Hall
I would highly encourage young filmmakers to consider working for film equipment companies if given the opportunity. I met many of my creative collaborators through Aputure (including the majority of my producers and crew on Petunia) and was granted many favors through work. Shortly after locking the script, I was shipped off to the NAB Tradeshow (National Association of Broadcasters) in Las Vegas to help create content for Aputure.
Tradeshows like NAB, Cinegear, IBC, etc. are incredible opportunities for filmmakers of all levels to interact directly with the leading film equipment and software brands. Not only can you demo the cutting-edge gear that will soon be on every film set, but you can also build relationships with the companies and people behind the brand, who are all amazing.
Through networking and casually pitching the project to my peers, I was able to secure free rentals from Aputure, Deity Microphones, Atlas Lens Co. as well as heavy discounts from Old Fast Glass and other rental houses. Many of these and other companies want you to grow with their equipment and are happy to offer short-term loaners, just make sure to be kind and respectful, communicate your vision clearly, and keep in touch with them. It’s easy to feel like you’re on an island sometimes, but everyone in the film equipment industry understands the struggle of independent filmmaking and wants to support you.
One night over drinks in Vegas, one of the Aputure ambassadors Brady Bessette, and I were discussing the project. Though at first he seemed hesitant, I was somehow able to talk him into being the Cinematographer for Petunia. It was a surreal moment for me as Brady was one of my heroes and taught me so much about cinematography, and now I would get to work hand-in-hand with him. If you’re working on a passion project, you have to pitch it to everybody who will listen, and you never know who will be willing to help out.
Pre-Production
Behind-the-scenes of ‘Petunia’
Credit: Dylan Marzke
By all accounts, pre-production was relatively smooth, yet casting felt like the largest re-occurring obstacle. With about three weeks left before production, I felt as though I had built a dream team of actors, mainly through DMing actors I admired or friendships formulating into perfect casting. Shortly after though, my two leads both had to drop due to other projects getting extended.
One was an unexpectedly easy fix: I had gotten in touch with stand-up comedian Alycia Cooper after a killer set at the Comedy Store and amazingly she said yes. Backstage.com and Actors Access are great places to cast amazing actors but stay open to reaching out to anyone you think would have the right instincts for your project. Follow your favorite independent actors on social media and politely reach out. If the script is strong, you’d be surprised who you can get.
In the case of the protagonist, the self-titled Alec, I auditioned at least a dozen incredible actors and combed through hundreds of self-tapes. No one quite nailed it. From the advice of two of my filmmaking mentors, Jim Cummings and Joel Portrykus; “the only person that can play you is you.” That’s exactly what I decided to do.
Production
‘Petunia’
Credit: Petunia Short Film
I should probably mention that I’m not an actor. Acting and directing is by far the hardest thing I’ve ever done, especially for a self-funded passion project. The advantage that my mentors highlighted though, is that the film runs through you. You’re the one to set the tone, through your rehearsals you can help guide the other actors to the desired tone you’re looking to achieve without doing line readings.
The most important takeaway from my experience was to overcommunicate in pre-production and to trust fully in production. We didn’t have time to watch playback, and I had to live in the moment while performing instead of using half my brain to direct. This required an unprecedented amount of trust in Brady, my producers, and everyone else on set, to help facilitate the vision. Watching dailies was brutal, there was so much that went unseen, and I had to learn to live with my own ticks and idiosyncrasies.
The most important piece of this process has been to check my self-consciousness at the door and allow myself to be the character, even though the character is me. While it’s still so difficult to re-live this traumatic slice of my life, I feel catharsis in being able to tell Petunia’s story to the world.
Filmmaking is the one facet of my life I’ve found that I can push everything aside and get the job done by any means necessary.
I think this is true of any successful filmmaker, you find a higher gear that fuels everything you do because you care so much about delivering the best possible final product. I always wondered why I struggled so much in High School. I never achieved a flow state and was constantly procrastinating.
Once I started film school, I realized I was so much more passionate and excited about filmmaking, that everything felt easy and effortless. Since graduating though, it’s been much more difficult than expected to simply pick up a camera and click record. If you’re reading this right now, and feel the same way, just know that nothing is stopping you except yourself.
Your weekly horoscope is here. Exhale out the past, breathe in the future. As you begin a new lunar cycle on Thursday, wind down and release. In fastidious Virgo, it’s giving a focus on wellness, detail, clean lines, and simplicity. Switch on your manifesting mojo and set your seeds of intention in fertile ‘can-do’ soil. Next, water them with your commitment and action. Mercury finally spins out of retrograde on Friday, so step up to the plate and bat for your cause. Read on to discover what’s in store for your sign during the week of September 10 through September 16, 2023.
Read on to discover your weekly horoscope and what’s in store for your sign during the week of September 10 through September 16, 2023.
Aries
With Jupiter, the planet of luck and abundance, sliding backward in your zone of finance and values, it’s time to back it up for a run-up at something big. A giant leap of faith in the income and cash department? Maybe you’re investing now and will see the gains later on down the track. In any case, it’s not the ideal moment to throw caution to the wind if spending or earning isn’t in line with what you value most. So get cozy with what that is and demand your worth. Belief in yourself and your abilities is key. Make the most of teachable moments and perhaps brush up on your financial acumen. A new moon on Thursday is prime time to set your work goals. Go for a bullet point, streamlined, and practical plan. Take care of your health; it’s your wealth. Commit to one thing that will make all the difference to your day.
Taurus
Jupiter is the big hitter of the heavens; its role is to pry open opportunities and expand horizons. Since it’s been bowling through your sign since May, you might have noticed a handy slipstream or two or that life has been serving up your flavor. Well, it’s pulled about into a retrograde through to the end of the year. Yes, that’s right, hashtag ‘not just Mercury’; Jupiter marches backward for about four months every year, making it a timely period to assess your growth and abundance. Since Jupiter’s great luck beams on you this entire year, lay plans like they will succeed. Stock up on optimism and remember opportunity is the intersection of preparation and luck. Reflect on your direction and how you’re going to get there. Choose a worthy goal and go big. Utilise Thursday’s new moon mojo to set your intentions around leisure, a creative pursuit, and dating.
The gala screening was scheduled for a 10 p.m. start at Roy Thomson Hall, one of TIFF’s premier venues. The documentary’s co-directors Carlos López Estrada and Zac Manuel and editor Andrew Morrow arrived on the red carpet first, posing with fans that lined the entryway. But as their subject, pop superstar Lil Nas X, pulled up in his car to join them, organizers were informed that a bomb threat had been called in and the artist was told to hold, sources told Variety. The threat specifically targeted the rapper for being a Black queer artist, one source added.
Representatives for TIFF did not respond to an immediate request for comment.
Nas’ arrival was delayed 20 minutes while TIFF security conducted a sweep of the venue. After the threat was proved not credible, he joined Estrada and Manuel on the red carpet and the screening began at approximately 10:30pm.
Lil Nas X walks the red carpet at the “Lil Nas X: Long Live Montero” premiere during the 2023 Toronto International Film Festival.
Matt Winkelmeyer/Getty Images
In its 46-year history, TIFF has been relatively incident free when it comes to security. In 2017, the festival invested in tighter cybersecurity measures after a hack crippled box office capabilities and citywide WiFi connections at the Sundance Film Festival in Utah. In 2018, Toronto introduced bomb-sniffing dogs and bag checks at screenings in response to local terror attacks (including a public shooting, and the killing of 10 innocents when a driver purposely crashed a van into a sidewalk).
In an exclusive interview ahead of the documentary’s premiere, Nas told Variety about the impact he hopes the film will have on audiences, especially as it addresses issues of representation.
“I know in my lifetime, while I’m here, I’m going to do my best to make the ceiling unreachable to where we can go as Black queer people,” Nas said. “And I mean unreachable as, like, it can go above and beyond.”
He continued: “I feel like we live in a generation where Black queer people really control culture, and they’re helping really take the world to the next level. And I think that’s going to have an effect on our youth watching us.”
Zac Manuel, Lil Nas X and Carlos López Estrada attend the “Lil Nas X: Long Live Montero” premiere during the 2023 Toronto International Film Festival.
Matt Winkelmeyer/Getty Images
When COVID-19 took root, you almost knew there would be movies made to cash in on the panic and fear of the pandemic. They came — of course — and the better films to come from that initial period chose to focus on the human element. Isolation, loneliness, that kind of thing. Understandably, most steered clear of tackling a straight-up pandemic story.
But then, Steven Soderbergh and writer Scott Z. Burns already cooked up a chilling ode to the horrors of a killer virus nearly a decade earlier. Prescient and haunting, it was little surprise that people flocked to it once more in the early days of COVID-19.
Contagion arrived on this day in 2011, and at the time, its science-heavy take on the effects of an airborne virus seemed quite fanciful. Even as parts of the world had endured epidemics that generated scary headlines for the countries not truly affected by them, it still felt like a distant possibility.
In Contagion, a woman returns from a business trip to Hong Kong and dies from what appears to be a flu-like infection. Then her young son dies the same day. However, the woman’s husband appears to be immune.
Ensemble Cast Accentuates Contagion’s Paranoia and Fear
Credit: Warner Bros.
Soderbergh makes fantastic and frightening use of his ability to wrangle an ensemble cast in these early moments. The film has Gwyneth Paltrow, Jude Law, Matt Damon, Marion Cotillard, Kate Winslet, Bryan Cranston, Laurence Fishburne, and Elliot Gould among its number. Soderbergh stacks the deck only to pull off a shocking swerve with a big-name actor suffering a relatively swift death. There’s no better way to establish no one is safe from what’s coming. Even being immune doesn’t prevent people from suffering due to the unexpected death of loved ones.
This is our entry point at the start of what will become a pandemic where the airborne virus wreaks havoc. Doctors at the U.S. Centers for Disease Control soon come to realize the extent of the virus’ reach. They scramble against the clock to both identify and find a cure for the virus.
Meanwhile, the rise in cases worldwide causes unrest and panic on a significant scale. As we know all too well, answers just can’t come quickly enough to stop the impact.
Soderbergh dipped into horror in his storied directorial career, most prominently in 2018’s Unsane, and will dip wholly into it for his upcoming film Presence. But the coldly clinical science of Contagion is perhaps the most masterful use of it in his filmography.
Yes, Contagion plays things to the extreme end of the spectrum. However, that’s exactly why it acted as a weird kind of comfort in the early days of our real-life pandemic. The situation is bad, but look at how bad it so easily could be. The parallels between reality and fiction were eerily close at that time.
Unfortunately, life proved stranger than fiction. Reality proved it could come up with its own disturbing twist on how people really act in a pandemic. Could Soderbergh have predicted anti-maskers?
There is a grand tradition of messy but glorious films about couples who bring out the crazy in one another and end up doing all manner of bad stuff. Sadly, Pet Shop Days, a directorial debut for writer-producer Olmo Schnabel (son of Julian Schnabel), is just messy and never glorious.
Even with the built-in advantage of Willem Dafoe and Emmanuelle Seigner taking major roles (neither at their best), cameos from Peter Sarsgaard and Maribel Verdu, and a mass list of executive producers who should have known better (including Michel Franco and Martin Scorsese), this poorly paced crime drama is afflicted with terrible dialogue and weak lead performances from Jack Irv (also a co-screenwriter, along with Schnabel and Galen Core) and Dario Yazbek Bernal as two repellent, entitled brats in love.
Pet Shop Days
The Bottom Line
Sex, drugs and tedium.
Venue:Venice Film Festival (Horizons Extra) Cast: Jack Irv, Dario Yazbek Bernal, Willem Dafoe, Emmanuelle Seigner, Camille Rowe, Peter Sarsgaard, Maribel Verdu Director: Olmo Schnabel Screenwriters: Olmo Schnabel, Jack Irv, Galen Core
1 hour 50 minutes
The opening sequence introduces us to Alejandro (Dario Yazbek Bernal, half brother of Gael Garcia Bernal), a young man in his 20s, as snuggles in bed with Karla (Maribel Verdu), both of them loathe to go downstairs for a party. The event is a birthday party for Karla’s husband — and Alejandro’s father — Castro (Jordi Molla), a big shot in a Mexican cartel, who clearly has a tricky relationship with his surly, volatile son. Parent and child are further estranged when, after an argument with Castro, Alejandro tries to run away with a family car but in the process accidentally runs over Karla.
When seen next, Alejandro has made it to New York City. There he meets Jack (Irv), a handsome but none-too-bright man also in his 20s from a wealthier family than his menial job at a Bronx pet store would suggest. Jack’s father Francis (Willem Dafoe), who seemingly does something in finance, and mother Diana (Emmanuelle Seigner) bicker constantly, much to the chagrin of Jack and his sister Lucy (Grace Brennan). Jack and Alejandro are clearly drawn to each other and party together every chance they get, going so far as hiring female prostitutes with whom they have sex before they start copulating with one another.
The film settles into a sluggish mid-section where nothing much happens while the two boys party on, buying drugs, consuming drugs, meeting more sex workers and having more sex — rinse and repeat. One escort takes revenge on the boys by leaving a huge mess of excrement all over the toilet, an action painting in brown shown in great detail here for no discernible artistic reason, apart from shock value. Meanwhile, one of Castro’s minions, Walker (Louis Cancelmi), is hunting down Alejandro, perhaps to kill him or to take him back to Mexico to reconcile with his father or maybe just to buy him food and say hi. Who knows?
Shot on grainy, underlit 16mm stock by DP Hunter Zimny, the film is clearly trying to look like some lost underground flick from the late 1970s or 80s — perhaps something by one of Andy Warhol’s acolytes or early Gregg Araki, but with none of the infectious energy or dramatic flair that made those films fun. This is not fun.
Joyce Carol Oates is among the most prolific American writers of our age. One hundred books she has published under her name and various pseudonyms. Quoting a phrase from one of Oates’ most poetic works, Joyce Carol Oates: A Body in Service of the Mind explores all things to do with Joyce Carol Oates. The film opens with the director, Stig Björkman, recounting his process of “courting” Ms. Oates until she acquiesced to be the subject of a documentary. Her answer that she eventually wanted – after nine years – to be the subject and that her second husband, Charlie Gross, thought she should, is so very charming.
The film takes us from Oates’ upbringing in rural upstate New York, near Buffalo, through her formative years at Princeton University, and finally through her career teaching literature at various places while writing many of the great American novels she is famous for. Blonde, We are the Waverly’s, Wonderland, and A Garden of Earthly Delights are all superb examples of her writings. These titles and others will have excerpts read by Laura Dern. Laura has a great and clear reading intonation to her voice. I enjoyed the slightly stilted, generally clean reading Dern provided for all the selections of Ms. Oates’ various novels.
Photo credit: Syracuse University
“One hundred books she has published under her name and various pseudonyms.”
Joyce Carol Oates is not shy about her political leanings, and it was informative to understand this woman spends as much on X (nee Twitter) railing against the political leaders of this country as she does teaching and writing. There is a small moment where Ms. Oates is walking us through her daily routine, and she admits to being a workaholic. “I like work” is the edifying phrase she utters. I, for one, cannot think of a more American ethos than that. A woman who is so devoted to her work, she publishes 1-2 novels any given year. She does not care for vacations, holidays, or generally sitting around anywhere. She would rather stay focused and busy on her occupation. This tendency of Ms. Oates probably explains why she’ll only travel if she is to be a keynote somewhere. Or possibly to sign and present her latest publication. If you see them in your town, I guarantee you, gentle reader, she’s not up to any tomfoolery. No, Ms. Oates is at work in some way.
Stig Björkman is no stranger to filming famous people. He also has prepared excellent films concerning Ingrid Bergman and Lars Van Trier. That it took a Swedish filmmaker nine years to gain the acquiescence of Joyce Carol Oates to be a documentary subject is just the sort of wry humor that embodies and endows Oates’ own writings. He and his team have done a wonderful job seaming together passages from Oates’ writing with vignettes from her public and private lives. Joyce Carol Oates: A Body in Service of the Mind is simply a beautiful portrait of a great American writer and personality.
If you’re in the mood for a biographical film, Joyce Carol Oates: A Body in Service of the Mind is a splendid example. Seek it out, wherever it may be playing or streaming.
Turnabout was fair play for the Edmonton Elks on Saturday.
Dean Faithfull kicked a 42-yard field goal as time expired as the Elks gave the Calgary Stampeders a taste of their own medicine, coming from behind to record a 25-23 victory.
“It’s my first one and I’m just really proud to be able to help the boys,” Faithfull said of kicking the walk-off game winner. “I told them it’s their win, they worked so hard to get that win and I’m just happy I can contribute.”
The Elks, who blew a 15-point lead in the fourth quarter in Monday’s Labour Day loss to Calgary, kept their faint playoff hopes alive, improving to 3-10.
Running back Kevin Brown had a great game for the Elks, recording 143 yards rushing.
“Definitely, that’s the most I’ve ever got in a game, period,” said Brown. “I’m honoured. I mean, give it up to the guys up front, the O-line and the receivers blocking downfield. I wouldn’t be able to do it without them.”
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Calgary (4-9) has lost four of its last five.
“It is tough to be on the other end of a game like that,” said Stampeders head coach Dave Dickenson. “It felt like we had a real good chance to win that game and it just got away on us. We didn’t play well enough. We didn’t win the line of scrimmage battle and take advantage of our opportunities. They got momentum and took it.
“It’s a big blow on our season.”
The Elks had a strong start to the contest with a touchdown on their first possession as Brown found a seam up the middle and scampered 45 yards into the end zone.
Calgary quarterback Jake Maier responded by finding Markeith Ambles for a 35-yard passing play, eventually setting up a 37-yard Rene Paredes field goal.
The Stampeders took the lead midway through the second quarter when Maier completed a three-yard TD pass to William Langlais.
Calgary took a 17-7 lead into the dressing room at the half after Maier hit Reggie Begelton for a 10-yard touchdown catch with five seconds remaining in the second frame.
Edmonton quarterback Tre Ford, who was rattled by a hit late in the second, remained in the game to start the third but had a pass picked off early in the quarter by Brad Muhammad, setting up a 25-yard Paredes field goal.
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Paredes added a 29-yard field goal late in the third.
The Elks clawed back into the game with a one-yard TD plunge by backup quarterback Taylor Cornelius on a third down gamble to start the fourth. The two-point convert attempt failed.
After having only passed for 26 yards to that point in the game, Ford finally found his arm on successive big passes, hitting Eugene Lewis for a 33-yard catch and then Dillon Mitchell for a 32-yard TD with nine minutes to go in the fourth. However, Faithfull’s convert kick was wide, keeping the Stamps up by four points.
Edmonton kept up the comeback bid, getting a 40-yard Faithfull field goal with five minutes to play to make it a one-point game.
The Elks got the ball back late and drove down the field to allow Faithfull to kick the game-winning field goal as time expired.
“I thought the pass game developed in the second half, because they didn’t know when we were going to throw,” Ford said. “The offence came together in the second half and we wouldn’t have done anything without the defence. The defence played amazing in the second half.”
NOTES
The two teams played each other in the Labour Day Classic on Monday in Calgary, a game that saw the Stampeders record 22 fourth-quarter points to come back for a 35-31 win over the Elks. Edmonton quarterback Ford set a record for Canadian quarterbacks with 135 rushing yards, which was also tied for the most by an Edmonton QB since 1999. Maier completed 27 passes for 315 yards in the victory. … The Elks had three key starters back in the lineup in safety Loucheiz Purifoy, left guard David Foucault and defensive tackle J-Min Pelley. However, they lost three players in the first half — WR Steven Dunbar, DL Noah Curtis and DB Marcus Lewis. … The Elks once again gave out free tickets to those affected by the wildfires in the Northwest Territories.
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UP NEXT
The Elks are in Regina to face the Saskatchewan Roughriders (6-6) next Friday. The Stampeders have a bye week.
This article first appeared as part of Jenelle Riley’s Acting Up newsletter – to subscribe for early content and weekly updates on all things acting, visit the Acting Up signup page.
At its best, art is transporting but also useful. The non-profit organization A Light in Dark Places gathers talented artists to put on an entertaining show that, in producer-artistic director Kelly O’Malley’s words, seeks to “break down stigma surrounding the topic of suicide by using the performing arts to encourage healthy discussion, create community and offer hope to those affected.”
Starting this weekend, Los Angeles audiences can check out ALIDP’s 8th Annual Plays for Hope. The series presents five short plays — a mix of comedy and drama — to provide a variety of experiences for those who have been touched by suicide or for those who want to learn more.
And if you are a creative looking to get involved, good news! Actors, writers and directors in the area (and in Dallas, where they mount a Spring production at the Bath House Cultural Center) are encouraged to visit the website, where you can submit a play, learn about auditions or donate to the organization.
The Plays for Hope will run Sept. 8-17 at the Stella Adler Academy & Theater, which donates its space so the organization can prepare and perform the show during Suicide Prevention Awareness Month. Tickets can be purchased at Event Brite.
I spoke with O’Malley about ALIDP and how it can help benefit the community through art.
How did you come to create A Light in Dark Places? I started A Light in Dark Places as a way to combat the isolation and stigma surrounding suicide through the communal experience of theater. My dad died by suicide when I was in college, and I found myself exposed to shame, isolation and even rejection. Either of him or myself. But as I began healing, I began to learn and to see the how much suicide can impact a community. I learned every suicide affects approximately 100 people, and someone dies by suicide every 40 seconds. We need to talk about it. No matter how uncomfortable or taboo it might feel. And so A Light in Dark Places was the way I envisioned doing that.
How do you go about assembling your shows? What kind of scripts and artists are you looking for? I would say each show starts with finding our plays. We have a call for submissions each year and a committee that makes selections. It’s a tricky process — a heavy subject with several safety guidelines and an emphasis on hope and community. We need plays that find the balance of exploring the complexity of the subject while maintaining hope and connection. And all without tying the piece up into a neat bow. It’s a tall order, but we find our five plays every year.
Can you talk more about the process of casting and finding directors? Once the plays are picked, we move on to finding directors, actors and a variety of volunteers to fill the various roles that make the show function. I’ve had the opportunity to work with dozens of generous, hardworking artists over the years who commit themselves wholeheartedly to the project. Something that’s always been important to me is making sure we always keep space for new people to become involved. One of the ways I do this is by changing up the roster of directors and actors each year. So, if anyone wants to get involved, they can do so by joining our mailing list or following our socials for announcements on how to do so.
You also profile different artists on your website — can you talk about the process behind that? We do, and that process is so fun! It’s a series I started during the pandemic as a way to continue the outreach from a safe distance. And while we’re no longer actively cultivating the series, we have begun looking into a reformat as a gallery type event.
What would you want an audience to know coming to see the show? You might cry, you’ll definitely laugh. But you’ll feel good after, and you won’t be experiencing it alone. We value safe messaging and have no desire to romanticize or exploit this subject. We’re cultivating a night of hope and community, and we do this by following each 75-minute performance by a Q&A with a representative from the American Foundation for Suicide Prevention and/or a mental health professional, as well as a reception.
You know you’re watching a true pop star when that person’s identity — their very existence — smashes boundaries. Elvis Presley was a country boy who mixed country and rockabilly and the blues, and with his sneer and black hair and mascara he looked like no human had ever looked before. Prince was a one-man band who mixed funk and rock with his own synth-pop bitches’ brew and sang, “Am I black or white? Am I straight or gay?”
Lil Nas X, following in the footsteps of Elvis’s blue suede shoes and Prince’s James Brown-with-wings delirium, is a Black queer confessional pop hip-hop diva who put himself on the map with a viral single, recorded in about an hour, in which he appropriated the cowboy mystique of the Wild West — and did it with a wink of pure sincerity. In “Old Town Road,” he turned the tables on Elvis 70 years later, doing to country what Elvis did to the blues, stealing it like fire, mirroring it back to the world as righteous fun. The song wasn’t just country rap — it was a tasty, thrilling layer cake. So is Lil Nas X.
In the loosely rambunctious and at times exhilarating backstage concert movie “Lil Nas X: Long Live Montero,” he comes on as exactly who he is: the latest star to remake the pop universe, and by the time the film is over it’s hard to imagine the universe without him. That’s how much he tears down walls and makes old categories irrelevant. Lil Nas X’s real name is Montero Lamar Hill (yes, he was named after a Mitsubishi). The movie, co-directed with scrappy vibrance by Carlós Lopez Estrada (“Blindspotting”) and Zac Manuel, is a spontaneous, engaging ramble that chronicles Lil Nas X’s first concert tour, which took place from September to November 2022. But the film also has the quality of an on-the-fly psychodrama, or at least a kind of meditation, since Lil Nas X speaks, at great length, about what it takes — and what it means — for a star like himself to be queer and open about it.
He’s talking about the toll, and about the liberation, but it’s not simply a personal odyssey. When Lil Nas X came out, in June 2019, he was busting down the limits of what a certain kind of music star could be. He was an artist rooted in the traditions of rap, a form that prizes masculine braggadochio and defines that in a particular way. Simply put: as not gay. Lil Nas X, by declaring who he was, was saying: No, rap isn’t “straight” or “gay.” And if you think it is, you’re blinding yourself to the true meaning of sexual identity.
That’s one of many reasons why his coming out meant so much to so many people. He seemed to be offering a kind of benediction to a new way of being. At the start of “Lil Nas X: Long Live Montero,” he says that he wants his stage act to be “great, and super-grand, and big,” and that’s just what it is. From the first concert, in a beautiful old theater in Detroit, the show has a larger-than-life quality, with every move and song and gesture invested with Lil Nas X’s transformative mystique.
Viewed next to the hallowed rock history of pompadours and wild hair, Lil Nas X, on stage, has hair styled so high it looks like a nuclear cloud; on his body is a gold breastplate over a bare midriff. Tall and ripped, he’s gorgeous — a leonine statue with a light in his eye. Says one fan outside a show, “He’s the first male celebrity I wanted to fuck and be at the same time,” which says a great deal. His moves have a language all their own: now imperious, now fornicating, now mincing, now rock-star swaggering. Born in 1999, he’s a 21st-century collage artist, and what holds his act together is the joyful ferocity that animates every move. Simply put, he means it.
Lil Nas X and his team had just one month to choreograph and rehearse the tour. We see black-and-white footage of a rehearsal 22 days before the first date, where he talks about how scary it is to have to learn it all that fast. The film also takes us back to a few key moments from the past, like when he first encountered the Nine Inch Nails track “34 Ghosts IV,” the sample that undergirds “Old Town Road” (as soon as he heard it, he says that he knew the song would be big), or how his family members reacted to the news that he was gay. Most of them are in the movie, visiting him backstage, and Nas describes their acceptance of him as a work in progress. There are levels of acceptance, suggested by the word… acceptance. Are you “accepting” who someone is, or are you embracing it? Just allowing the reality of it to be?
That, in a way, is what Lil Nas X is meditating on throughout the documentary, as he lolls on a couch pillow, talking to the filmmakers. He has a playful sense of his own complication and is wickedly funny, putting on an English accent and, at one point, giving pizza to the protesters outside a Boston show — the ones who are denouncing him as a tool of Satan. “I was a little evil in doing it,” he says with a chuckle, “because it was pineapple pizza.”
There’s a lyrical sequence in which he roller skates with family members, after having arranged for the 1976 Deniece Williams track “Free” to play on the roller-rink soundtrack. The number is an anthem of liberation, sung by a woman who doesn’t want to be tied down. Yet the music of it, the lyrical wistful sound of it, is profoundly romantic. And I think the reason that Lil Nas X loves it so much is that he’s a romantic — not just about love but about the power of liberation, of being able to be who you are, in his own life and in all our lives. That’s the torch he’s carrying onstage.
Then again, he’s an old-school romantic as well, and that’s something you don’t exactly see everyday in hip-hop. The highlight of the movie may be his onstage performance of “That’s What I Want,” with its plaintive militance as he sings, “‘Cause it don’t feel right when it’s late at night,/And it’s just me and my dreams.” “Lil Nas X: Long Live Montero” channels the grandeur of what it means to put your dreams out there, for everyone to see.
EXCLUSIVE: The Undertaker, a period crime thriller starring Paul McGann (Withnail and I, Doctor Who, Annika) and Tara Fitzgerald (Brassed Off, Sirens), has been acquired by RRB Films / DC Releasing for distribution in the UK and Ireland.
Written and directed by Michael Wright, the film is set in a shadowy town in 1960s northern England and follows funeral director Arthur Morel (McGann), who is at a moral crossroads after being caught up in a power-grab by local gangster Finlay Unsworth. The synopsis reads: Morel is pressured into burying Unsworth’s victims off the record, helped by the promise of large amounts of cash that will help him fulfill his retirement dreams. But as Unsworth’s killing spree escalates out of control, Morel realizes he must make a stand – or he’ll be the murderous gangster’s next victim.
McGann is joined by Tara Fitzgerald in the role of Vic, a nightclub singer working at Finlay Unsworth’s club, and Roger Barclay (Industry, Johnny English, The Bay) as Unsworth. Sean Gilder (Shameless, Hornblower) plays Detective Kelly, and Lily Frazer (Saint Maud, Ladhood, Hotel Portofino) is Arthur Morel’s assistant, Kat. The Undertaker is also the last on-screen performance of actor Murray Melvin (A Taste of Honey, Barry Lyndon, The Devils), who plays Morel’s former assistant.
The Undertaker was produced by Roger Barclay, Ben Hughes, and Wright. It was shot at The Bottle Yard Studios in Bristol, which has also hosted productions such as Rain Dogs, The Pursuit of Love, and Broadchurch.
“Michael Wright has created an outstanding British Noir thriller which is both original and classic. Paul McGann’s performance in the lead is compelling and unbelievably tense,” said Gareth Jones of UK distributor RRB Films.
Barclay added: “Susceptor Films are delighted to have industry veteran, Gareth Jones at RRB Films, attached to The Undertaker. His knowledge, experience, and expertise are invaluable, and we are very much looking forward to working with him and his team.”
The film will be released in the UK on November 3. Check out the first trailer above.
Tim Burton, who is known for his distinct-style characters and movies, is sharing his thoughts on artificial intelligence and its threat to animation.
During a recent interview with The Independent, the filmmaker was asked about a Buzzfeed story published in July that used AI to show what Disney movies would look like if they were directed by Burton.
“They had AI do my versions of Disney characters!” he exclaimed in response. “I can’t describe the feeling it gives you. It reminded me of when other cultures say, ‘Don’t take my picture because it is taking away your soul.’”
Some of the AI-generated examples included Elsa from Frozen with a pale white face and wearing a black dress while in what appeared to be a haunted forest, as well as Aurora from Sleeping Beauty with a similar colored face but with stitches across her cheeks and lying in a long, dark dress.
While Burton acknowledged that some of the creations were “very good,” it didn’t take away from the less-than-enjoyable feeling he got seeing his creative style imitated.
“What it does is it sucks something from you,” he explained. “It takes something from your soul or psyche; that is very disturbing, especially if it has to do with you. It’s like a robot taking your humanity, your soul.”
The use of AI in Hollywood has been an ongoing debate across the industry, with many wanting protections against the technology. It has particularly been one of the main concerns for actors and writers, who have been on strike for months after contract negotiations faltered with studios and streamers, and AI was one of the focal points that they haven’t been able to agree on.
Later during the interview, Burton also opened up about how making big studio films can be such an exhausting experience, but that he still tries to focus on the positives with all his projects.
“That’s why it is hard for me to watch the movies afterwards, because I still feel the emotional whatever of it. I don’t get a release from that. But I do enjoy all the people I’ve worked with,” the director said. “On this last one, Beetlejuice 2, I really enjoyed it. I tried to strip everything and go back to the basics of working with good people and actors and puppets. It was kind of like going back to why I liked making movies.”
Burton added that the Beetlejuice sequel, which stars Michael Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega and Willem Dafoe, was nearly finished filming before the strikes were called. He hopes to finish once the strikes are resolved.
“I feel grateful we got what we got. Literally, it was a day and a half,” he said of the film, which is set to be released on Sept. 6, 2024. “We know what we have to do. It is 99 percent done.”
Prabhas to play Lord Shiva in the upcoming film, Kannappa. The news was confirmed by Vishnu Manchu.
Telugu star Prabhas is likely to play a pivotal role in Manchu Vishnu’s upcoming film Kannappa, latest reports claim. The actor, who was seen playing the role of Lord Ram in Adipurush earlier this year, likely to play the role of Lord Shiva in the movie. The news was shared by trade experts Manobala V and Ramesh Bala on Sunday morning on X, previously known as Twitter. It is also claimed that Kriti Sanon’s sister Nupur Sanon will also be seen in the movie.
“According to Reliable sources, Rebel Star #Prabhas to act in a major important role in Actor #VishnuManchu ‘s dream project #Kannappa – A True Epic Indian Tale!” Ramesh Bala shared. Vishu Manchu confirmed the news by reposting Bala’s post. “❤️ Har Har Mahadev ❤️ #Kannappa ?,” he wrote.
This will be third Godly avatar that Prabhas will be seen in. He was seen playing Lord Ram in Om Raut’s Adipurush in June this year. Rumour has it that his character in Kalki 2898 AD is based on Lord Vishnu.
Kannappa is directed by Mukesh Kumar Singh, who is known for his Maha Bharatham series. Kannappa teases a ‘unique’ and ‘captivating’ experience at the cinemas. The film is written by Paruchuri Gopalakrishna, Burra Sai Madhav, and Thota Prasad, and Mani Sharma and Stephen Devasi have been roped in to compose the music. The film is produced by Ava Entertainment and 24 Frames Factory.
Meanwhile, Prabhas has a few other projects in the pipeline. The actor will be seen in Salaar, directed by KGF’s Prashant Neel. The film was slated to release this month but the team decided to delay it. The actor also has Kalki 2829 AD. Prabhas shares the screen with Deepika Padukone, Amitabh Bachchan, Kamal Haasan and Rana Daggubati.
Dishya Sharma, Chief Sub Editor, is part of the entertainment team at News18. She eats, sleeps, and drinks entertainment. While Indian films have fuel…Read More
After conquering the music world, pop superstar Lil Nas X is testing the realm of movie stardom. He’s in Toronto — attending a film festival for the first time — for the world premiere of his documentary “Lil Nas X: Long Live Montero.”
The screening was delayed because of a bomb threat from a homophobic caller, but despite that scare, the mood in the Roy Thomson Theater was jubilant as the documentary finally began to play around 10:30 p.m.
During a brief Q&A following the premiere, Nas, a consummate entertainer and comedic force to be reckoned with, admitted he was a reluctant documentary subject. “I’m going to be honest. I was like, ‘I don’t want to do this at all. This is a terrible idea.’ But then I was like, ‘Fuck it, let’s do it anyway.’ I hate people knowing about my life because I can’t keep my funny persona. Now people know I’m all serious.” In the end, he came around to the idea. “I’m happy I did,” he said.
Wearing sky-high heels and a slick black suit, Nas teased that he’s working on “good, fire ass music” and expressed a desire to experiment with genres like folk and Brazilian funk. He also hinted at expanding his talents beyond the mic. Would he direct a feature film? “Oh, there’s gonna be something that happens,” he coyly added.
Nas, whose real name is Montero Lamar Hill, is one of the biggest stars at the 48th edition of TIFF. Most of the talent from this year’s lineup of films isn’t at the festival because of the twin labor strikes that have left actors and screenwriters on the picket lines. With the exception of some projects that were granted interim agreements, which allows the talent to engage in publicity efforts, A-listers like Seth Rogen and Pete Davidson (“Dumb Money”), Anna Kendrick (“Woman of the Hour”), Nicole Kidman (“Expats”) and Natasha Lyonne (“His Three Daughters”) aren’t able to walk the red carpet or promote their films.
Carlos López Estrada and Zac Manuel directed “Long Live Montero,” a fly-on-the-wall look at the artist’s first global tour. In 2019, he instantly shot to fame with the supremely catchy “Old Town Road,” blending the barriers of country and hip hop and making history in the process. The song debuted on the top of Billboard charts and remained at No. 1 for 19 consecutive weeks, the longest-running chart topper ever. He followed that with hits like “Montero (Call Me By Your Name),” “Industry Baby” and “That’s What I Want,” all anthems that are unapologetically bold, queer and provocative.
“I think it means a lot for people to publicly support me,” Nas said on stage. “It makes people view you differently — especially straight men. You like Lil Nas X. You must be gay or something.“
Prior to the film’s premiere Nas told Variety he hopes the documentary represents him “do(ing) my best to make the ceiling unreachable to where we can go as Black queer people.” He adds that he isn’t concerned about the reception for “Long Live Montero.” “This is one of the only times in my life where I am releasing something and I have absolutely zero expectations for it,” he said. “I’m just like, whatever happens, happens. But, you know, I hope everybody loves it. I hope everybody fucks with it.”
Since it’s a film festival, after all, Nas offered a little insight into his taste in cinema. He cited 1989’s “Back to the Future Part II” as his favorite movie, but he likes to watch “anything to do with time travel. I’m obsessed with time. You can’t get that back.” He turned to the audience. “Guys, that’s deep. You have to clap!”
Someone in the crowd then took the opportunity to ask Nas to hang out. “You know what?” the musician responded, deflecting the question. “Time is, like, precious.”
While Spider-Man 4 and the animated Spider-Man: Freshman Year series are reportedly in the works, Holland’s silver screen trio stands as both a complete trilogy and a full story, and one that apparently warrants its own title.
Marvel Names Tom Holland’s Spider-Man Trilogy
Marvel
In Spider-Man: No Way Home: The Art of the Movie artbook, Ryan Meinerding, Marvel Studios Head of Visual Development, called the MCU’s Spider-Man trilogy the “Home” trilogy.
Marvel Studios previously referred to Tom Holland’s trilogy as a three-part Spider-Man origin story, but this appears to be one of the first times the studio officially termed the trilogy itself.
In The Art of the Movie book, Meinerding acknowledged Tobey Maguire’s Spider-Man movies as “the entrance into modern Super Hero cinema” and noted how Andrew Garfield’s movies and now, Tom Holland, “in our ‘Home’ trilogy, have only enhanced the legacy:”
“The Sam Raimi Spider-Man movies starring Tobey Maguire were really the entrance into modern Super Hero cinema in a lot of ways, and both Andrew Garfield, in the Amazing Spider-Man films, and Tom Holland, in our ‘Home’ trilogy, have only enhanced the legacy of the silver screen web-slinger across two decades.”
Jon Watts, who directed each of the “Home” trilogy films, also explained how he planned and connected Holland’s three films, saying, “…if you start sophomore year, you could do sophomore year, junior year, senior year – one movie at a time.”
What was particularly special about Peter’s senior year and the completion of Tom Holland’s three-movie milestone is how Spider-Man: No Way Home featured three Spider-Men, including Tobey Maguire, who was the first to receive a Spider-Man movie trilogy.
Watts also explained that Maguire and Garfield’s Peter Parkers perfectly connected to the MCU Peter’s No Way Home story, calling the crossover “part of the DNA of the story we were already trying to tell:”
“The idea that they are all the same thing and they could all come together and sort of help each other, that to me felt like it was part of the DNA of the story we were already trying to tell. And that gave me an entry point to get them together so that it was actually a story element and an emotional thing.”
A Spider-Man Trilogy by Any Other Name
Given that all three of Tom Holland’s Spider-Man movies have included the word “home” in the title, this name for the trilogy was an obvious choice.
Even Thor’s trilogy, whose character already received a fourth film in 2022, doesn’t have an official name of its own.
Whether Marvel Studios looks to change that moving forward remains to be seen, but it’s possible the “home” name is due to so many pre-existing, as well as upcoming, Spider-Man movies.
For instance, Tobey Maguire and Tom Holland’s web-slingers may be the only big-screen Spideys to receive a trilogy, but Miles Morales looks to join the ranks with Sony’s Spider-Man: Beyond the Spider-Verse.
Also, Sony Pictures is currently constructing its own Spider-Man Universe; and Andrew Garfield’s web-head only needs one more solo film to complete a trilogy of his own.
Spider-Man: No Way Home is available to stream on STARZ.
In the early days of the DCEU, Warner Bros. wasted no time jumping into Justice Leagueas only its fifth movie, with most of the main heroes not making their proper debut until that ensemble blockbuster.
When Will the Justice League Reboot Movie Release?
DC
Alongside the reveal of the DCU slate – via Variety – James Gunn confirmed plans to release “roughly two films and two TV series per year into the DCU.” With five movies announced so far and only Superman: Legacy currently set for a 2025 release on July 11, that ought to take the DCU schedule up until the end of 2027.
However, Gunn later confirmed on Twitter that the ten projects announced at the time amounted to “less than half” of Chapter 1: Gods and Monsters, which will presumably culminate with a Justice League blockbuster.
Assuming that indicates there are at least a further five movies to be announced, the DCU may have its big screen slate full through 2030. As such, the inevitable Justice League reboot is unlikely to arrive anytime before 2030, by which point the DCU will have been underway for over five years.
Around five or six years of movies and shows will allow Gunn plenty of time to establish the DCU, introduce its key players, build toward the end of Chapter 1, and, importantly, grow a fanbase that will be excited about this crossover event.
This will allow more than enough time for fans – or at least most of them – to forget about the DCEU’s disastrous Justice League movieand the dilemma building toward the eventual release of the Snyder Cut, opening the doors to a fresh attempt at bringing the superhero team together.
Which Heroes Will Be in the DCU’s Justice League Movie?
This roster will almost certainly be padded out by the usual icons of the Flash, Wonder Woman, and Aquaman, none of which have been confirmed for the DCU yet but will likely end up debuting ahead of the Justice League reboot.
Then again, Gunn could also opt for a more classic seven-hero Justice League starting roster with Batman, Superman, Wonder Woman, Aquaman, Green Lantern, The Flash, and either Martian Manhunter or Cyborg.
Will James Gunn Direct the DCU’s Justice League Movie?
DC
James Gunn’s role as DC Studios co-CEO sees him serve as the creative figurehead of the universe, planning out the larger tale of the DCU slate while his partner, Peter Safran, takes care of the business and production side.
Despite this position, Gunn is continuing to be directly involved in projects, serving as writer and director on Superman: Legacy, penning the scripts for the seven-episode Creature Commandos, and taking the helm on Peacemaker Season 2.
The initial reports of Gunn’s hiring made it clear he would continue to write and direct along the way, and being the one to map the course of Chapter 1: Gods and Monsters, he seems to be the obvious choice to helm the Justice League reboot.
The Elseworlds tale saw Earth’s superheroes bound together to take on an ancient horror known as the Centre, also known as Dinosaur Island because, yes, the entity is in itself a sentient island.
The Centre’s powers include telepathy and possession, extruding tentacles, spawning creatures such as dinosaurs and other reptiles, and discharging energy blasts powerful enough to bring down Superman.
The Justice League took down the Centre as a team effort that culminated in the Flash using a shrink-ray against it while Hal Jordan used his Green Lantern ring to launch the island into space where it would then self-destruct.
If the Justice League reboot is indeed an adaptation of New Frontier, the Centre may well be the main antagonist. However, the movie will either require more villains or some major changes to the Centre as it doesn’t exactly have much of an actual character behind it nor would it make for the most satisfying villain.
DC Studios has yet to officially announce a Justice League reboot.
The massively popular online game platform and game creation system will be released for PS4 and PS5 in October.
Roblox was originally released on PC back in 2006, and was then ported to iOS in 2012 and Android in 2014.
The platform made its console debut in 2015, when it was released for Xbox One (and is still playable on Xbox Series X/S).
However, in the eight years that have followed, Roblox has yet to see a release on Sony or Nintendo consoles.
In a statement following a keynote speech at the Roblox Developer Conference in San Francisco today, Roblox said: “At long last, we announced that next month, more than 150 million console owners across PlayStation 4 and PlayStation 5 will be able to access the full catalog of Roblox experiences.”
As well as the new PlayStation version of Roblox, the company announced that it will also be upgrading the Xbox version.
The updated Xbox app will “enable a new look, frequent updates (with access to the latest features), improved content recommendations, and an improved user experience”.
“Getting our developers’ experiences onto these two amazing platforms is a significant step toward making Roblox available on all of the most popular devices,” the statement reads. “And we’re not stopping there.”
THROUGH THE NIGHT by Academy-award nominated Delphine Girard wins the Audience award
The Giornate degli Autori, a prominent sidebar section of the revered Venice International Film Festival, has concluded with a resounding applause for two exceptional films.
Giornate degli Autori Award
HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON (VAMPIRE HUMANISTE CHERCHE SUICIDAIRE CONSENTANT) by Ariane Louis-Seize (Canada)
The coveted Giornate degli Autori Award, presented by the Official Jury of Giornate degli Autori, presided over by a distinguished filmmaker and composed of participants from the renowned program “27 Times Cinema” of the European Parliament, has been bestowed upon the captivating Humanist Vampire Seeking Consenting Suicidal Person. This film, directed by Ariane Louis-Seize, has not only captured the hearts of the jury but also a cash prize of €20,000. This monetary accolade will be equally divided between the exceptionally talented filmmaker Ariane Louis-Seize and the film’s international distributor, who has pledged to use the sum to promote this groundbreaking work internationally.
Sasha, the young vampire with a dilemma too sensitive to kill, and her unlikely savior, Paul, a lonely teenager grappling with suicidal tendencies, have taken audiences on an extraordinary journey.
In the words of director Ariane Louis-Seize, “Death is also anchored in the character of Paul, a teenager with chronic depressive behaviors who does not find his place in a world he can’t decipher and that is hostile to him. The inner dramas of Sasha and Paul are certainly tragic, but I wanted light and hope to emerge from their encounter. Humanist Vampire Seeking Consenting Suicidal Person navigates between genre film, coming-of-age story, and dark comedy.”
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People’s Choice Award
THROUGH THE NIGHT (QUITTER LA NUIT) by Delphine Girard (Belgium, Canada, France)
The Giornate degli Autori also celebrated the film Through the Night, directed by Delphine Girard. This poignant film, which explores the aftermath of a traumatic event and the lives of those involved, resonated deeply with audiences, earning it the prestigious People’s Choice Award.
Through the Night is a masterful creation by Delphine Girard, who had previously earned an Oscar nomination for her short film A Sister. The film weaves a gripping narrative around a woman in danger who makes a fateful call to the police, setting into motion a series of events that will leave a lasting impact on Anna, Aly, and Dary. It is a compelling exploration of the complexity of human experiences, resilience, and the profound impact of trauma.
Director Delphine Girard shared her motivation behind the film, saying, “I find it crucial at this particular time in History, and also on a personal level, to try to find ways to give form, substance, and to understand what’s at play in an assault, as well as the way our system answers to it. I need to try to show what causes an abuser to act, mainly because I don’t think we can change behaviors without understanding them.”
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Sales for HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON are handled by the Montréal-based H264, THROUGH THE NIGHT is represented by the Paris-based PLAYTIME.
HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON will screen next week at the TORONTO INTERNATIONAL FILM FESTIVAL (TIFF), while THROUGH THE NIGHT is to be shown at the SAN SEBASTIAN (SSIFF) film festival next, before opening the NAMUR FRENCH SPEAKING FILM FESTIVAL (FIFF) for its domestic premiere.
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For press inquiries, interviews, and additional information, please contact:
Black Bear partner Michael Heimler, the indie outfit’s head of production and operations, has a busy fall festival circuit, having executive-produced Netflix awards play Nyad, Sony’s Dumb Money, and sales title Sing Sing.
Ahead of those premieres, Heimler shared with THR what he seeks out (sports bars for the Jets season opener) and what he actively avoids (Taylor Swift fans) when he is on the ground for TIFF.
My “Canadians are so nice” moment… TIFF audiences are the best in the world and standing ovations are the norm.
The one place I have to visit when in Toronto is… any sports bar on the Sunday or Monday night of TIFF, surrounded by the same group of present & ex-New Yorkers for the last decade plus, unfortunately, watching the Jets lose their first game of the year.
The place I avoid during the festival is… a rush line to get into a screening
My favorite Canadian director/talent is (and why)… My favorite Canadian talent is the incredible team at Elevation Pictures who run the best distribution shop in town.
The most Canadian thing about Toronto is… great audience reactions even to not so great movies.
The one thing I won’t travel with (besides my phone) is... portable phone charger and airpods.
Biggest star encounter in Toronto… a tough toss-up between Rob Ford in 2013 and Taylor Swift shutting down King Street last year.
Ryan Gosling or Ryan Reynolds? No comment. Both are great. ?
In Toronto you should always… I would typically say have a meal at the somewhat hidden Chinese restaurant inside the Doubletree, but having heard this has just closed, I will need to start a new tradition.
In Toronto you should never… try to cross King Street at the same time as Taylor Swift
Mila Kunis and Ashton Kutcher have issued a statement today on social media, with Kutcher bluntly saying, “We are aware of the pain that has been caused by the character letters that we wrote on behalf of Danny Masterson.”
Mark-Paul Gosselaar regrets that “Saved By The Bell” sex work episode
Masterson was sentenced to 30 years in prison this week, after being convicted on two charges of rape in May of this year. As part of the conversation surrounding Masterson’s sentencing, news recently broke that several of his That ’70s Showcastmates—including Kutcher, Kunis, Debra Jo Rupp, and Kurtwood Smith—had written character letters on his behalf, speaking warmly of him, and calling for leniency in his sentencing. (Said pleas do not appear to have had much effect on Judge Charlaine Olmedo, who denounced Masterson as both a “true coward” and a “heartless monster” before setting his first chance at parole for 2048.)
Given the glowing nature of these letters, which call Masterson an “amazing friend,” “positive influence,” and other effusive labels of support, the reaction to their publication has been pretty uniformly negative, with many people viewing them as, at best, deeply dismissive of the feelings and lived experiences of the women Masterson has now been convicted of sexually assaulting, and, at worst, actively opposed to the truth of the ruling against him.
Now, Kutcher and Kunis have responded to these criticism, issuing a brief video on Instagram this afternoon in which they apologized for, if not the letters themselves, then at least the impact that they’ve had. In the video, the couple explains that they were approached by Masterson’s family several months ago to write the letters to “represent the person that we knew for 25 years.”
“The letters were not written to question the legitimacy of the judicial system,” Kunis said, “Or the validity of the jury’s ruling.” “They were intended for the judge to read,” Kutcher adds, “And not to undermine the testimony of any of the victims, or re-traumatize them in any way. We would never want to do that, and we’re sorry if that has taken place.” Kunis: “Our heart goes out to everyone who has ever been a victim of sexual assult, sexual abuse, or rape.”
Big Nose Kate was a significant part of Doc Holliday’s life, but her role is not prominently shown in the movie Tombstone.
Their relationship was turbulent, but despite their fights, Kate remained by Doc’s side until his death from tuberculosis.
After Doc’s death, Kate remarried but later left her abusive husband. She lived a resilient and independent life, working as a prostitute and eventually joining the Arizona Pioneer’s Home before her death at age 90.
Big Nose Kate (Joanna Pacula) doesn’t feature very prominently in Tombstone, but it doesn’t mean that she wasn’t a big part of Doc Holliday’s (Val Kilmer) life, and live a full life after her time in the titular town in Arizona. The ’90s Western, which focuses primarily on the true story of Wyatt Earp and Doc Holliday both before and after the infamous “Gunfight at the O.K. Corral” does not include how Doc met Kate, whose real name was Mary Katherine Horony Cummings. The pair became an item in Dodge City, Kansas, and followed Earp and his brothers to Arizona with the intention of settling down to a quieter life.
The Clanton Gang and Johnny Ringo had other plans, and their desire to jump Doc Holliday after a night of gambling led to the standoff at the O.K. Corral and ignited The Earp Vendetta that brought most of them to justice. Doc’s relationship with Kate was tempestuous, and they often fought, creating a volatile foundation that Big Nose Kate had to walk away from. Doc wasn’t an easy man to quit, and even though she knew he was dying of tuberculosis, Kate didn’t let the famous gunslinger suffer alone, and after the end of Tombstone, she went on to live a robust life.
Big Nose Kate Reportedly Visited Doc Holliday In Tombstone A Few Times After The OK Corral Incident
In a letter to her niece Lillian Rafferty in 1939, Kate described the aftermath of the Gunfight at the O.K. Corral, explaining how much it affected Doc, to the point where he openly wept in front of her because the violent confrontation had taken such a toll on him. Kate didn’t remain in Tombstone, but made frequent trips to see Doc up until he left for Colorado in April 1882. In 1887, Big Nose Kate traveled to see him in Redstone, Colorado while also visiting family in Glenwood Springs, Colorado.
Although Kate and Doc never married officially, they signed guest ledgers at boarding houses as Mr. and Mrs., and she was considered his common-law wife. He considered her his intellectual equal, something that isn’t alluded to in Tombstone where Kate is relegated to a very small role despite being incredibly important to Doc’s life. It’s not difficult to see why, despite their arguments, they always made up, even when Kate’s line of work took her away from Tombstone.
Big Nose Kate Remarried After Doc Holliday’s Death
Big Nose Kate visited Doc up until his death in 1987 after the tuberculosis he had lived with for years finally took his life. After Doc died in 1887, Kate met Irish blacksmith George Cummings, whom she married in Aspen, Colorado in 1890. The pair worked several mining camps together before they left Colorado and moved to Bisbee, Arizona, where Kate ran a bakery for a time. Unfortunately for Kate, after returning to Willcox, Arizona, her husband became an abusive alcoholic and she left him in 1990, moving to Dos Cabezas and working in the Cochise Hotel.
Kate was a prostitute for much of her life despite receiving a good education and having ample opportunities to do other things. She found the work agreeable and the independence even more so, as it allowed her to pick up and leave whenever it suited her to do so, which is why she could leave both Doc and later her husband whenever she felt like it and know that she could keep herself financially solvent. Kate had lived in foster homes after her parents’ death, had already been married and outlived her son by the time she met Doc Holliday at 26, a testament to her resiliency and resolve.
Big Nose Kate’s Time In Arizona & 1940 Death Explained
Kate eventually became acquainted with John J. Howard, a miner, whom she lived with from 1910 until his death in 1930. At 80 years old she contacted George Hunt, the governor of Arizona, and asked to be admitted to the Arizona Pioneer’s Home, a home for destitute miners and male pioneers in Prescott, Arizona, which she was finally admitted to after waiting six months. She was one of the first women to live there, and was an outspoken member of the community and frequent combatant of the Arizona state legislature.
Big Nose Kate died of cute myocardial insufficiency on November 2, 1940, just days before what would have been her 90th birthday. Though many people wanted to hear her tales of Tombstone and Doc Holliday, she only talked to Prescott historian A.W. Bork and Anton Mazzonovich. Until the end of her days, she remained a vibrant, strong-willed woman who was every bit a legend of the American West as Wyatt Earp and Doc Holliday are depicted in Tombstone, whom she outlived, and didn’t let overshadow or define her life.
Maybe the best reaction to 19-year-old Coco Gauff winning her first Grand Slam tournament at the U.S. Open today came from the champ herself.
“Honestly, thank you to the people who didn’t believe in me. A month ago, I won a 500 title and people said I would stop at that,” she said in a TV interview from center court. “I’m here with this trophy right now. I tried my best to carry this with grace and I’ve been doing my best. So honestly, to those who thought [they] were putting water on my fire, you were really adding gas to it. And now I’m really burning so bright right now.”
Gauff won plaudits from two former U.S. presidents. Both Barack Obama and Bill Clinton took to Twitter to congratulate her, with Obama writing, “We know the best is yet to come.”
Congratulations to US Open champion, @CocoGauff! We couldn’t be prouder of you on and off the court – and we know the best is yet to come.
Former First Lady Michelle Obama shared an image of herself and her husband alongside Gauff and her mother and father, writing, “So proud of you, @CocoGauff! Your hard work and grit was on display throughout this tournament.”
Most eye-catching reaction goes to the MSG Sphere in Las Vegas, which turned its round exterior screen into a giant tennis ball.
Think back to 2007 and you’ll remember just how huge the Jonas Brothers were. Of course, that’s in the wake of the release of the band’s self-titled effort.
While the Jonas Brothers are known for other hits in their massive discography, the band captured many hearts with the Jonas Brothers album. I mean I’m not ashamed to say that the brothers captured my heart with that album and I haven’t looked back since. Maybe my wallet wishes I would have but that’s a conversation for another day.
This was the first album released under Hollywood Records and would help to jumpstart the band’s career. It’s also the start of their Disney days and is one a lot of us look back on in fondness. The album cover was iconic, especially with all the gold on it and the black-and-white pictures of the boys.
The album ended up with 4 singles including “Year 3000,” “Hold On,” “S.O.S” and “When You Look Me in the Eyes.” Considering all the absolute bangers on this album, I knew this was going to be difficult but let’s get into it before the job gets even harder.
Coming in at #4 is a single from the previous Jonas Brothers album.
4. “Year 3000”
I swear to goodness, I don’t hate “Year 3000” by the Jonas Brothers. Within these past two single rankings though, it ended up at the bottom. That’s not to say that “Year 3000” is a bad song. On the contrary, it’s a great song but just not as amazing as the other singles from the Jonas Brothers’ self-titled album.
This one always gets the party going and gets fans excited. It’s also one that a lot of people discovered the Jonas Brothers because of it. Due to that, a lot of people have such nostalgic feelings towards it. Plus it’s a great one to dance and sing to while you’re seeing them in concert along with just being an incredibly recognizable song of theirs.
Despite that, it’s at the bottom just because the other singles from self-titled managed to edge it out. We also need to give Busted credit for writing such a catchy and long-lasting song that it spanned multiple albums and an eventual remix for them and the Jonas Brothers.
“I’ve been the model. I’ve been the muse. I’ve been the ingenue. But I was done with that. I was good at drinking, having sex, and taking pictures. And I did all three as much as I could.” – Lee Miller
When an elder Lee Miller, played by Kate Winslet, sits down with a young journalist to tell the story about her role during World War II in the war drama “Lee,” the memorable line sets up the filmmaker’s ultimate goal: tell the world about one of its most unsung heroes.
Along with a “Saving Private Ryan”-esque opening battle sequence, “Lee” presents itself as a glossy, character-study, looking for a home out of the acquisition market after premiering at the Roy Thomson Hall Theatre at TIFF on Saturday night. An affecting drama that puts the viewer right into the war zone, it’s led by another committed and bombastic turn by Academy Award winner Winslet.
In the glitzy world of Hollywood, where talents often rise and fall like shooting stars, Winslet has transcended beyond her fame, showing range and depth.
The film is the latest of the multiple one-name biopics this year (“Oppenheimer,” “Rustin” and “Nyad”) that hopes to drum up awards attention, and its star power has made it one of the buzziest titles on the market. As “Lee” seeks distribution to make a possible play this awards season (or next), adult programming finding a home at studios is not the easy “sell” it once used to be. When you add the ongoing Hollywood strikes that have crippled the industry since May, a film’s financial prospects must be clearer than they once were. It already has Sky Cinema distributing in the U.K.
With powerful action sequences and memorable re-creations such as the filming of Hitler’s apartment, where Lee took the iconic image of herself in his bathtub, the movie has potential for varying prospects, with awards and financial prospects.
Winslet, who was not in attendance for the premiere, is another example of a talented actress seeking stories and passionately bringing them to audiences, and playing multiple roles in bringing them to life. Serving as a producer along with Kate Solomon, she joins Margot Robbie (“Barbie”), Emma Stone (“Poor Things”) and Natalie Portman (“May December”), who also served as actors and producers on their film sets.
Her versatility as an actress has been one of her strongest traits as she goes from Rose DeWitt Bukater in “Titanic” to the multi-hair-colored Clementine Krucynski in “Eternal Sunshine.”
Based on the autobiography by Antony Penrose, and written by Liz Hannah, Marion Hume and John Collee, the film tells the story of photographer Elizabeth ‘Lee’ Miller (Winslet), a fashion model who became an acclaimed war correspondent for Vogue magazine during World War II. Also among the cast are Andy Samberg (in a surprisingly effective serious turn), Josh O’Connor, Andrea Riseborough and Noémie Merlant.
An Oscar best actress winner for “The Reader” (2008), along with an impressive six career acting noms, you see similarities to her fearless approach as a former Nazi concentration camp guard in the film that won her the statuette.
Winslet continues to get better and more confident in her acting abilities. At 47, she’s unafraid to show her naked body or de-glam her stunning appearance in order for the audience (and herself) to connect with the character she’s portraying. This isn’t always the sure-fire way to get attention as we’ve seen in years past. As easily as it can follow in the footsteps of Stephen Daldry’s 2008 film, it could also be seen as a solo vehicle for Winslet like “Ammonite,” where she stood above the film’s overall quality.
In her directorial debut, Kuras, who worked as the cinematographer on Winslet’s fourth Oscar-nominated film, “Eternal Sunshine of the Spotless Mind” (2004), holds an assured filmmaking hand. As she said in a recent Variety interview, the D.P. turned director considers herself “part of the Deaf world,” with extremely limited hearing due to a fever she had as an infant.
A passion project for Winslet for several years, she had a guiding hand in bringing the cast, director and artisans onto the project. Kuras and Winslet called up Oscar-winners Alexandre Desplat (“The Shape of Water” and “The Grand Budapest Hotel”) to compose the music, Mikkel E.G. Niesen (“Sound of Metal”) to edit and Michael O’Connor (“The Duchess”) to re-create the gorgeous and historic costumes. The film is shot by Oscar-nominated D.P. Pawel Edelman (“The Pianist”).
Shot in three countries over nine weeks in late 2022, the film shows the horror of the time with dignity and doesn’t use the disturbing and the re-creation of the heartbreaking pictures, for shock value.
If anything, the film makes you even more curious to learn about Lee’s life and contributions; something I’m sure was on the list of Winslet and the team’s ultimate goals. Mission accomplished.
Usually, it’s the director looking to push the boundaries on a given film. With The Nun II, it was the audience who demanded a more extreme version of the movie.
“People wanted more violence,” director Michael Chavestold EW, with a laugh. “There was already a good degree of violence and gore in the movie, but people wanted more of it. 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. 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.”
Looks like the extra work paid off. The Nun 2 did an estimated$13M yesterday on its way to what looks to be a$31M-$34M opening at 3,728 theaters. These numbers do not come from Warner Bros. and they’re on the high end of projections.
Chaves is not unfamiliar with the genre, having directed The Conjuring: The Devil Made Me Do It, The Curse of La Llorona and now The Nun II in the past five years.
From a script by Akela Cooper, The Nun II picks up in 1956 following the murder of a priest. The sequel follows Sister Irene (Farmiga) as she once again comes face-to-face with the demon Valak, played by Bonnie Aarons. Jonas Bloquet also reprises his role as Maurice. Reid stars with Farmiga as a new character, along with Katelyn Rose Downey as Sophie and Anna Popplewell as Marcella.
Saoirse Ronan, best known for her dramatic roles, is ready to switch things up and star in a comedy.
Since the film genre is also her favorite to watch, the four-time Oscar-nominated actress recently told Harper’s Bazaar UKthat she wants to partake in a project that sees her in a more comedic role for once.
“I would love to do something modern and funny,” she said. “But to be able to do comedy well requires so much skill and musicality. I don’t necessarily think I have that yet – although as I’ve got older, I am more comfortable and confident to try.”
Ronan specifically cited films and TV shows like Bridesmaids, Seinfeld and Curb Your Enthusiasm as her all-time favorites to watch – which could hint at the type of comedy audiences may see her in at some point in the future.
As for her more serious roles, such as in Little Women, Lady Bird and Brooklyn, those don’t come without challenges either. Especially for her role as Lady Macbeth in the West End production of The Tragedy of Macbeth in 2021, which she called “the most difficult thing I’ve ever done, professionally.”
“Because of the discipline that it required – getting on my bike at 5 o’clock night after night, in the dead of winter, to do a play that dark and at a time when the country was still in the throes of COVID, meaning we were all carrying a heaviness already,” the Foe actress explained.
But her years of experience in the industry have helped her take on the demanding roles. “When you’re working with weighty material, you find levity somehow,” she said. “With Macbeth, it did feel hard to find the light.”
Ronan said she typically decides what projects she wants to sign on to “based on emotion, how I respond to the character, how delicious I find the dialogue,” but recently she has changed the way she goes about it. She now looks at it through the whole lens, taking the creative team and environment into consideration.
“It’s become so important that we have a nice time, that it’s fun, and people work hard,” she added. “But not to the extent it becomes toxic and overbearing.”
YouTube is trying out games as its next experimental offering. The company is adding a new “Playables” section on the site that will include games that can be played on both the desktop website and mobile devices. Playables will only appear for “a limited number of users to start,” and there was no list of game titles published at this time.
9to5Google reports that one of the games to grace the new YouTube Playables experiment includes Stack Bounce, which involves a 3D ball bouncing on top of rings you must smash through with well-timed clicks. If you’ve heard of the game before, it’s because Google already offers it on its minigames service, GameSnacks.
To check if you’re included in the games experiment, look for a new “Playables” section on YouTube alongside content on the home feed. Bringing games to YouTube means the website has yet another form of entertainment entering the brand, joining shortform videos, movies, video game streams, music, TV service, podcasts, and more.
Stack Bounce on Google’s GameSnacks website.Image: Google
A campaigning Donald Trump did not receive the most rapturous greeting when he showed up at the Iowa-Iowa State game in Ames today.
When the former president stepped out onto the concourse to wave and give thumbs up to the crowd, he got a few cheers — and some noticeable boos. According to the Des Moines Register, which noted the booing, “he drew far more eager and excited onlookers,” however. Listen for yourself below.
Trump was there in a private suite with influential Republican donor and casino magnate Gary Kirke, according to the paper. While Trump was inside, fans in seats on the other side of the suite’s glass viewing wall tried to get his attention, many of them pointing at him or waving, some making other gestures.
Four months out from the Iowa caucuses, a Des Moines Register/NBC News/Mediacom poll taken last month in Iowa had Trump getting 42% among likely Republican caucusgoers. Ron DeSantis trailed him with 19%, and U.S. Sen. Tim Scott was at 9%.
DeSantis, who was also at the game and reportedly sitting in the bleachers with Iowa Governor Kim Reynolds, was himself on the receiving end of some not-so-nice gestures from some in the crowd.
“Poor Things,” directed by Yorgos Lanthimos, was awarded the Golden Lion for best film at the 80th Venice International Film Festival on Saturday by a competition jury led by Damien Chazelle. The film stars Emma Stone in a virtuoso performance as a womanwith an initially childlike understanding of the world who comes into her own through a sexual and philosophical journey.
Bella Baxter, the main character in the film, “wouldn’t exist without Emma Stone,” Lanthimos said. “This film is her, in front of and behind the camera.” Stone previously collaborated with Lanthimos on “The Favourite,” which won the Grand Jury Prize at the festival in 2018.
Like many other actors in films screened at the festival, Stone was not in attendance, as the strike by SAG-AFTRA, the union that represents television and movie actors, continued.
Set in a partly fantastical 19th-century Europe, “Poor Things” follows Bella (Stone) on her eye-opening adventures in Tony McNamara’s adaptation of the 1992 Alasdair Gray novel. The film also stars Willem Dafoe as Bella’s father who is a doctor, Ramy Youssef as his assistant and her suitor, and Mark Ruffalo as a lascivious lawyer.
Lanthimos said that the film took “quite a few years” to bring into being, before “the world, or our industry,” was ready for its story. The award announcement was met with a roar of applause.
The 80th edition of the festival opened with “Comandante,” a historical drama about an Italian submarine that rescued Belgian sailors during World War II. Other prominent films included “Maestro,” “Priscilla,” “The Killer,” “Ferrari,” “Hit Man,” “Origin,” “El Conde,” “Aggro Dr1ft,” “Coup de Chance,” “Dogman” and William Friedkin’s final film, “The Caine Mutiny Court-Martial.”
The latest edition received wide acclaim despite advance speculation that the SAG-AFTRA and Writers Guild of America strikes in Hollywood might affect the festival’s impact. Stars were largely absent. However, there were exceptions, including Adam Driver and Jessica Chastain, thanks to interim agreements secured with SAG-AFTRA; both actors expressed support for the strikes. But the filmmakers did not disappoint: Before the awards ceremony, crowds chanted “Yorgos! Yorgos!” when the director walked onto the red carpet.
The Silver Lion Grand Jury Prize went to “Evil Does Not Exist,” the new film from Ryusuke Hamaguchi, whose film “Drive My Car” won an Academy Award. His latest feature centers on a small town in Japan trying to fend off a planned glamping site.
Immigration was a recurring theme among the prizewinners. The Silver Lion for best director went to Matteo Garrone for the immigration drama “Me Captain.” The Special Jury Prize went to Agnieszka Holland for “Green Border,” her multifaceted look at immigration to Poland.
The Volpi Cup for best actress was awarded to Cailee Spaeny, who played the titular role in Sofia Coppola’s “Priscilla,” the story of Priscilla Presley’s relationship with Elvis Presley. The best actor award went to Peter Sarsgaard for his role as a man with dementia who is accused of past abuse in Michel Franco’s “Memory.” In his acceptance speech, Sarsgaard spoke movingly against the threat of artificial intelligence. Seydou Sarr won the Marcello Mastroianni Award, given to an outstanding emerging actor, for “Me Captain.”
The best screenplay honor was given to “El Conde,” a vampiric reimagining of Gen. Augusto Pinochet, the Chilean dictator, written by Guillermo Calderón and Pablo Larraín, who also directed. “Love Is a Gun,” directed by Lee Hong-Chi, received the Lion of the Future award for best debut feature. “Thank You Very Much,” a playful look at Andy Kaufman, won the Venice Classics award for best documentary on cinema.
For the Orizzonti section, another competition slate in the festival, the top prize went to “Explanation for Everything,” an expansive work from the Hungarian director Gabor Reisz. “El Paraiso,” a mother-daughter drama, also won two awards in this section: Margarita Rosa de Francisco won for best actress, and Enrico Maria Artale won for best screenplay. Notably, a Mongolian film, “City of Wind,” was honored for best actor (Tergel Bold-Erdene).
This year’s Golden Lions for lifetime achievement went to Tony Leung Chiu-wai, a star of Hong Kong cinema, and to the director Liliana Cavani, whose film “The Order of Time” played out of competition. The Glory to the Filmmaker Award went to Wes Anderson, whose short film “The Wonderful Story of Henry Sugar” played out of competition.
After “Rogers: The Musical” was introduced to Marvel fans in the Disney+ series, Hawkeye, we knew it was only a matter of time before it would appear in the parks. And Disney California Adventure was the lucky recipient of this one-act musical, based on Captain America.
Photo: Disney
However, it had a fairly short run at the park’s Hyperion Theater, lasting from June 30, 2023, to August 31, 2023. Many fans were encouraging Disney to extend the show’s tenure in the park, and it appears Disney may have listened.
Marquee Mystery
The marquee above the Hyperion Theater provided quite a mysterious message following the show’s final run. Over on X, @MediaverseCU provided some shots of the message:
BREAKING ? Cryptic message graces the Hyperion theater’s marquee after Rogers the Musical had its final performance. Could Disney be hinting at more to come someday?
The marquee reads, “That’s the thing about endings…they can be rewritten.” Of course, Disney hasn’t provided any context for what the marquee is referring to. Could it mean a return of the show in Disney California Adventure? Or could Disney World be the show’s next home? Maybe we’ll see a “rewritten” version of the show, diving into other realities provided by the multiverse? This cryptic message could mean anything, honestly.
Photo: Disney
Perhaps we’ll get some meaning behind the message at this weekend’s Destination D23 event! And speaking of — we’re attending Destination D23 and we’ll be bringing you live updates, so be sure to follow along at MickeyBlog.com.
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“Freedom is a state of mind.” One can only hope, especially when watching Michael Goorjian‘s lead character in his new Armenian-filmed feature Amerikatsi, which centers on an American in the late 1940s traveling to Soviet Armenia in an effort to learn about his roots. From there, it’s despair personified as he’s immediately brought to a Soviet prison for reasons that are simply outside his control. He’s not a threat like they say; he’s a charming, hopeful individual who will inspire viewers long after they finish Goorjian’s new film.
We recently caught up with Goorjian, who serves as writer and director of his new comedy-drama, in addition to playing the main role. He opens up about wearing multiple hats for the COVID-filmed production, a funny little Charlie Chaplin connection of his, and more.
‘Don’t Worry, Be Happy’
As Goorjian’s new film comes to an end, a title card comes on screen that reads, “Dedicated to my grandfather.” Amerikatsi is already based on true events, taking place in a tense post-WWII era, but Goorjian takes it a step further and uses personal memories to help weave a heartwarming, sometimes tragic tale. “Many Armenians who came to America, who survived the genocide, they reacted in different ways,” Goorjian told MovieWeb, continuing:
“My grandfather went the route of wanting to just shut that off and have his children grow up to be American. And I remember as a child, that he would never talk about the genocide, he only would tell me, ‘You need to be happy.’ The Bobby McFerrin song, [my grandfather] used to say that before Bobby McFerrin used to say, ‘Don’t worry, be happy.’ And he always reinforced that to me. So in a way, I dedicated to him because the character Charlie is really who he was.”
Amerikatsi is also a special project because of its timing on the production end. These are strange times we’re living in, given the global pandemic. And as Goorjian told us, they began shooting his movie in March 2020. “Five days into shooting, and we had to lock down,” he said. “And I ended up getting stuck in Armenia for about seven months. Myself and my cinematographer were from the States; most of the crew and cast were all based in Armenia. But yeah, we were there. It was crazy.”
In Amerikatsi, Goorjian plays the imprisoned American who ultimately forms an unlikely bond with a guard living nearby. Tigran is his name, and he’s played to perfection by Hovik Keuchkerian. While discussing the complications presented by the pandemic, Goorjian noted how, in real life, Keuchkerian’s mother fell ill with the virus in Madrid. All his scenes were eventually shot, but it sounds like it took some time. Goorjian continued to detail the shooting-during-COVID experience:
“We were in lockdown for a good two months. And then the government said, ‘OK, we’ll let you shoot just the scenes in the cell because it involves just you and a few crew members.’ So there’s not too many people around. And I remember that day, you know, after two months of everybody waiting to see what’s going to happen, that was one of the most the happiest days on set I’ve ever experienced. People were so just thrilled to get to do something.”
“And so, shooting all of those sequences was challenging, of course, but I mean, the pandemic actually made the film a better film in the long run,” added Goorjian. “All of the challenges that it threw our way, we did our best to — like [my character] Charlie — just find the opportunity within it.”
Directing Fellow Actors and Representing Armenia
Variance Films
Goorjian has directed projects in the past, so wearing multiple hats for Amerikatsi wasn’t exactly a daunting experience. “I got into directing because I love acting. I love working with actors,” he said. “I tend to rely on my DP to do what he’s been hired to do, which is the camera stuff. And he knows everything that I am looking for… I really relied on him and my ADs. But to me, it’s not too much different directing other actors, and me acting with you in a scene; it feels the same. So it’s not too difficult, but you have to have a good team around you.”
It was a good team that put together this new film that has its fair share of good jokes. After all, Amerikatsi is a comedy-drama, despite the dark subject matter. The Soviet guards often call Charlie ‘Mr. Charlie Chaplin,’ and interestingly enough, Goorjian played the legendary performer’s son in the 1992 film with Robert Downey Jr. It’s pure coincidence, says Goorjian: “It actually just came out of a joke. Someone just started calling [me that] because the character’s name was Charlie […] At the time as well, the knowledge of what America was, with the West, was very limited in the Soviet Union. They knew Mickey Mouse and things like that. And so Charlie Chaplin seemed like, yeah, that’s one of those weird guys from the West.”
Another project that Goorjian worked on at a young age was the musical film Newsies alongside fellow rising star Christian Bale. And it seems Goorjian was always destined to be a filmmaker in addition to acting, since the cast put together their own horror film on the set of Newsies — it’s called Blood Drips Heavily on Newsies Square. “We had literally a VHS camera on set,” said Goorjian.
“We were bored, and so me and a couple of the other guys started making our own horror film. It’s about [Don Knotts] not showing up on the set of Newsies and going on a killing spree, and it’s hysterical. And we literally shot it in order in the camera, one shot after another… It’s crass, young humor. Christian Bale is in it. Bill Pullman’s in it. Everybody wanted to be a part of it.”
And one final note on Amerikatsi — its Armenian themes can’t help but shed light on the country’s current situation and tensions with Azerbaijan. Goorjian is mindful of the situation and weighed in on how he’s helping to raise awareness:
My version of the goal is attention. So few people even know where Armenia is. And right now, with what’s going on, there are 120,000 people that have been, for eight months, blockaded, unable to get food, water. It’s crazy. And it’s crazy that nobody knows about it.
“So I’ve thought a lot about this,” added Goorjian. “For me, I think, by making a film that’s showing what Armenia is, giving humanity to the face, to what Armenians are, that goes beyond the stereotypes that people know — that’s helping in a way. That’s my way as an artist of helping, is bringing attention.”
From Variance Films, Amerikatsi will be released exclusively in theaters in New York and Los Angeles on Friday, with a national rollout to follow.
Ronnie 2K is back in NBA 2K24 with the Rebirth quest, and it’s easier than ever to complete this year. If you’re a player who likes to make multiple builds in MyCareer mode, talking to Ronnie 2K is a must. Completing the Rebirth quest will speed up the process of creating any new players and builds after your first one, so we’re here to show you where to find Ronnie 2K inside The City in NBA 2K24.
NBA 2K24 Ronnie 2K location
In NBA 2K23, Ronnie would move around the map without any quest markers to guide you to his location–thankfully, that’s not the case this year.. In NBA 2K24, you’ll get the Rebirth quest as soon as you enter The City for the first time. Open up the Quest Journal and an icon will guide you directly to Ronnie 2K’s location on the map as soon as you track the quest. He’s standing on the beach in the southern part of The City.
The Rebirth quest will guide you to Ronnie 2K’s exact location
When you find Ronnie, speak to him to receive the second part of the Rebirth quest. He’ll tell you that you need to return to him after reaching 90 OVR with your player. Once you do, this should open up the chance for you to create additional players with new builds.
What does Rebirth do in NBA 2K24?
Once you complete the Rebirth quest in NBA 2K24, you’ll get 3,000 VC along with the Rebirth perk, which provides several bonuses. The Rebirth perk automatically makes all of your eligible badges start at Silver whenever you create a new player, and it also allows you to earn XP faster when badge grinding to speed up the entire process. So, essentially, your first player will be the worst grind, but it’ll get easier from there.
As you can see, the Rebirth quest is far simpler this year. With that said, keep in mind that this map is different for the PS4, Xbox One, and PC versions of the game, as the last-gen versions only have access to The Neighborhood.
The products discussed here were independently chosen by our editors.
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A24 after a raucous Midnight Madness premiere of Dicks the Musical brought the funny again tonight with the world premiere of Kristopher Borgli’s Dream Scenario, another ode and self satire of Oscar winner Nicolas Cage if there ever was one.
Cage said onstage tonight that Dream Scenario was one of a few projects in his career, that after reading it and seeing it “perfect on the page,” he had to play it; the other titles being Raising Arizona, Vampire’s Kiss, and Leaving Las Vegas. The pic follows Paul Matthews, a humdrum professor, who starts appearing in other people’s dreams, both sexually and brutally. Matthews becomes something of a social media sensation, err meme, and that was something that Cage could relate to.
“Well, in the name of Thespis, it was no acting please,” Cage said about the role.
“I felt like I had the life experience,” the Oscar winner continued.
“What had happened to me, I might have been the first actor who woke up one morning and somebody put a montage of me having meltdown moments and freaking out, and cherry-picking from different movies and then put it online, I think it was called ‘Nicolas Cage Loses His Shit’. And then it went viral overnight around the world and I kept looking at ‘What is happening to me?’”
Talking about that video, Cage said, “It kept growing exponentially…nothing I could do, could stop it.”
“I couldn’t stop it legally; I couldn’t stop it anyway.”
“I sat there, and it started going in this memeification, with photoshopping and T-shirts, and I said, ‘I gotta put this somewhere, and then I read Dream Scenario and I said ‘Yes, now I can turn this lead into a little bit of gold!’”
Borgli also the wrote the zany comedy, which is produced by Ari Aster.
“Like the rest of the world, I’ve waited two decades to see Wolverine in a whole movie with Deadpool, and I don’t know if this is our last shot at Wolverine on screen, so I was going to make goddamned sure we get the old yellow and blue just once, and that we get it right,” Levy told EW.
Marvel fans were treated to a sneak peek of Jackman’s yellow Wolverine suit when an image from the set of Deadpool3 was shared on social media. The suit is bright and yellow and it’s a callback to the one Wolverine wore in X-Men: The Animated Series from the 90s.
Ryan Reynolds as Deadpool and Hugh Jackman as Wolverine
X @deadpoolmovie
Levy said that to get to the final design, the team behind the suit went through multiple iterations adding, “It also helps that I’m making this movie within the MCU, so I have access to an army of the nerdiest nerds available to a Marvel project.”
The director mentioned that Ryan Reynolds “wanted our movie to be grounded and not feel like a bunch of physical environments filmed on a soundstage.” Since sharing the photos of the costumes online, Levy says that the reaction to it “has been overwhelmingly positive.”
Game, set, match. The best of the best in tennis are heading into the final weekend of the 2023 US Open Tennis Championship. The fourth and final Grand Slam tournament of the year sees Coco Gauff take on Aryna Sabalenka in the women’s final today. Then on Sunday, Novak Djokovic is eyeing his 24th Grand Slam as he faces off against Daniil Medvedev.
Just like the rest of the tournament, all of the matches this weekend will be broadcast by ESPN. To watch the 2023 US Open finals without cable, you’ll need ESPN+ or Sling TV. Right now, there is a Sling TV deal offering 50% off your first month of streaming. You can sign up for the Sling Orange plan for just $20 to watch ESPN live and find out which champions will be crowned.
Regularly $40 for Sling TV’s Orange plan, you can sign up for $20 right now to catch the US Open final matches on ESPN.
The action for the US Open title begins at 4 p.m. ET on Saturday, September 9. Here’s everything you need to know about how to live stream Gauff vs. Sabalenka and Djokovic vs. Medvedev.
How to watch the 2023 US Open finals online
The official streaming home of the US Open Tennis Championship is ESPN+, so if you want to watch all of the games and not miss a moment of the action, sign up for the sport-centric streaming service. You can get an ESPN+ subscription for $9.99 per month, or save over 15% with an ESPN+ Annual Plan at $99.99 per year.
ESPN will offer over 2,000 hours of US Open tennis coverage during the tournament. Watch all the tennis and other sports your heart desires for $10 per month with ESPN+.
How to watch the 2023 US Open for free
There is a way to watch the last two days of the US Open for free. If you’re a new customer, fuboTV offers a free seven-day trial. With just one weekend of the US Open to go, you could sign up now to watch all the final matches. FuboTV also comes with 1,000 hours of cloud DVR storage in case you are not home to watch the tennis matches live.
FuboTV’s Pro plan gets you 162 channels and 1,000 hours of Cloud DVR, along with coverage of the US Open. Perfect for families, you can watch fuboTV on 10 screens at once.
The 2023 US Open Tennis Championship schedule
To help you make the most out of your US Open Tennis Championship viewing here is the remaining tournament schedule (all times EDT).
Saturday, September 9 Mixed Doubles – Final (or Men’s Doubles – Final) @ noon. Men’s & Women’s Wheelchair Doubles – Final @ noon. Quad Wheelchair Doubles – Final @ noon. Women’s – Final @ 4:00 p.m.
Sunday, September 10 Men’s & Women’s Wheelchair Singles – Final @ noon. Quad Wheelchair Singles – Final @ noon. Women’s Doubles – Final @ 1:00 p.m. Men’s – Final @ 4:00 p.m.
A new Man of Steel movie is in the works, centered around the love story of Clark Kent and Lois Lane, with a romantic comedy twist.
David Corenswet has been chosen to play Clark Kent and Rachel Brosnahan as Lois Lane in the upcoming film, directed by James Gunn.
The movie will have a different tone from previous Superman films, focusing on the relationship between Clark and Lois, taking inspiration from the TV series Lois & Clark and Superman & Lois in exploring the human side of the character.
A new Man of Steel movie is on its way, with the love story of Clark Kent and Lois Lane taking the center of the stage, so a fan imagines Superman: Legacy as a romantic comedy referencing an all-time classic for the genre.
The last time fans enjoyed the adventures of Superman on the big screen, the character was played by Henry Cavill and was part of the Snyderverse, which presented a dark, raw and almost biblical version of the DC Comics mythology, focusing on the conflicts around the existence of superheroes. Even though Cavill’s portrayal of the Last Son of Krypton was mostly praised by the audience, James Gunn and Peter Safran have decided to leave the actor aside and bring a new star for their soon-to-be rebooted universe.
That’s how David Corenswet came into the picture. Earlier this year, the actor was chosen along with The Marvelous Mrs. Maisel‘s Rachel Brosnahan to play Clark Kent and Lois Lane in the upcoming film, directed and written by Gunn himself. Little is known about the story the Guardians of the Galaxy helmer wants to tell, or the tone the movie will have, but is safe to say that will be different from what Zack Snyder did, and that the relationship between Clark and Lois will play an important part within the plot.
When Harry Met Sally is a 1989 film directed by Rob Reiner starring Meg Ryan and Billy Crystal, and it is considered as one of the greatest exponents within the romantic comedy genre, and the film that made Ryan the undisputed queen of this type of production during the 90s.
What Superman: Legacy Can Learn from Superman & Lois
The CW
Over the years, many Man of Steel-centric productions have explored the romance between Lois and Clark in depth. But the ones that really put the focus on that bond were two television series. Both Lois & Clark and Superman & Lois gave much more importance to the relationship between their protagonists than any other aspect of the Last Son of Krypton’s life, which helped to show much more of the human side of the character.
However, The CW series has been highly praised by fans for having found the perfect balance in the duality inside Clark Kent, exploring his conflicts as a husband, father and humanity’s greatest hero, giving so much time on screen on his human side as well as the heroic one. And it is this balance one of the best lessons Superman: Legacy could learn from the series.
Superman: Legacyalso stars Nathan Fillion, Isabela Moner, Anthony Carrigan, and Edi Gathegi, and is set to hit theaters on July 11, 2025.
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It’s a big night for UFC fans, as Israel Adesanya (a.k.a. “The Last Stylebender”) defends his middleweight title against Sean Strickland at UFC 293. The pay-per-view event is airing live from from Qudos Bank Arena in Sydney, Australia and fans can stream the fight online through ESPN+.
The prelims start at 8 p.m. ET / 5 p.m. PT, with the main card featuring Adesanya vs. Strickland streaming live beginning at 10 p.m. ET / 7 p.m. PT. Purchase the PPV feed now on plus.espn.com.
Not an ESPN+ subscriber? Pay for a single month of ESPN+ and get the UFC 293 stream for a one-time price of $89.98. You’ll have instant access to livestream the Adesanya vs. Strickland fight online plus 30 days of access to the entire ESPN+ library of content.
Your best deal is to grab an annual ESPN+ subscription with the UFC 293 stream. The total works out to $124.98, which is $55 cheaper than paying for an annual plan and the UFC livestream separately (you save 31% off).
How to Watch UFC 293 Online: Stream Adesanya vs. Strickland Live
UFC 293 is an ESPN+ pay-per-view exclusive, meaning the only way to watch Adesanya vs. Strickland online is through the ESPN+ stream. Your PPV live feed lets you watch the fight on your phone, computer, tablet or TV through the ESPN+ app.
Want to watch UFC 293 online free? While the early prelims are streaming online free for ESPN+ subscribers, you’ll need to pay to watch the main card with Adesanya and Strickland. While there are free UFC 293 streaming links floating around on sites like Reddit, the only official (and legal) feed is through ESPN+.
UFC 293 Main Card, Predictions
The Adesanya vs. Strickland fight headlines the UFC 293 main card and all signs point to Izzy defending his middleweight title. The Nigerian champ brings a 24-2 MMA record to the octagon and is coming off a big win over Alex Pereira at UFC 287 in April.
Strickland (a.k.a. “Tarzan”) boasts a 27-5 record, and while he’s been displaying some incredible prowess as of late, oddsmakers still have Adesanya as the overwhelming favorite. This is Strickland’s first numbered UFC appearance since losing to Pereira at UFC 276 last July.
The other big fight tonight pits Alexander Volkov vs. Tai Tuivasa in a heavyweight bout. Volkov is the UFC’s eighth-ranked heavyweight, and one of the most exciting fighters to watch.
The rest of the main card features Manel Kape vs. Felipe dos Santos in a flyweight bout; Justin Tafa vs. Austen Lane in another heavyweight matchup; and Tyson Pedro vs. Anton Turkalj in a light heavyweight fight.
Agatha Christie adaptations continue to prove popular in several mediums so it’s not surprising that Kenneth Branagh’s version of Christie’s Belgian sleuth, Hercule Poirot, is back for a third go-round. As with his previous two films, A Haunting In Venice is directed by Branagh who also stars as Poirot. And per usual, the ingredients remain the same; there’s a mystery, someone dies, and a plethora of familiar faces from TV and film play the suspects. Familiarity can draw in audiences but sometimes it also can draw their contempt if it’s not what was expected. No problem here; this is more or less exactly like its predecessors. Though it might have proven more successful if Branagh had offered a surprise or two instead of relying on a proven formula.
“Glass Onion” director Rian Johnson talks Agatha Christie
A Haunting In Venice is based on Christie’s 1969 novel “Hallowe’en Party” and sees Hercule Poirot retired and struggling to fill his days despite being in one of the most beautiful cities in the world. Before long he’s pulled back in by a frenemy, the novelist Ariadne Oliver (Tina Fey). A writer of mysteries clearly inspired by Christie herself, Oliver invites Poirot to uncover the ways of a medium (Michelle Yeoh) who claims to communicate with the dead. The pair are off to seance at a huge palace on the outskirts of Venice where the bulk of the story takes place. Witchcraft and spiritualism? Perhaps this is not the usual Poirot mystery. No fretting necessary, though. A Haunting In Venice sticks to the tried and true.There’s an assortment of characters, each with a mysterious backstory and hidden motives. Of course someone is murdered and the rest become suspects. These include characters played by Kelly Reilly (TV’s Yellowstone), Jamie Dornan (Fifty Shades Of Grey), Camille Cottin (TV’s Call My Agent) and the kid from Branagh’s Oscar winning Belfast, Jude Hill.
Part of the fun of these films is watching movie stars. Familiar faces with gestures and mannerisms audiences know so well they can tide over a weak script or an easily resolved mystery. The first of Branagh’s movies had bold names like Michelle Pfeiffer, Penelope Cruz, and Willem Dafoe. Even the Christie adaptations of the 1970s featured golden age icons like Bette Davis and Lauren Bacall. But the star wattage has been diminishing with each new Branagh film. In this one, recent Oscar winner Yeoh gets the big star treatment —she’s someone all the characters keep talking about before their grand entrance, then they come out shrouded in darkness with a bait and switch until the famous face appears from the shadows. But after that grand introduction, Yeoh’s hardly in the movie. Fey has a juicier part as Poirot’s nemesis but is only used as a quip-dropping machine, as if she wandered onto this 1940s set from an adjacent one of a contemporary comedy by mistake. And through no fault of theirs, actors like Reilly and Dornan just haven’t yet formed a lasting bond with audiences that would make their mere appearance an event. They give credible performances but nothing that fills the screen with grandeur.
So it’s left to Branagh himself to carry the weight of the film. The director certainly gives the actor lots of room with many close-ups. However with this being his third outing as the character, there’s not that much that can be discovered anew. The script doesn’t offer him—or any of the actors—enough to play with. The whodunnit is easily guessed and the characters are merely archetypes. So everyone resorts to histrionics and overacting as they try to infuse life into this dull affair. Additionally, the nature of such stories calls for long scenes in which characters explain what’s happening, thus sagging the pace of the film. And since neither the characters nor the story are compelling, these scenes end up feeling much longer than they really are.
A HAUNTING IN VENICE | Official Trailer (2023) Kenneth Branagh
Visually uninspired, A Haunting In Venice doesn’t take advantage of being set in the titular city with the gorgeous canals. The main setting is a big, dark house that could be anywhere; nothing about it is especially Venetian despite being billed as a “palazzo.” There’s nary an interesting shot. In fact some of the askew angles Branagh and his usual cinematographer, Haris Zambarloukos, use to add a foreboding effect end up being just puzzling. Even the usually reliable composer Hildur Guðnadóttir delivers an unmemorable score.
With mystical elements and a foray into gothic storytelling, A Haunting In Venice could have been much more intriguing. Instead, Branagh and screenwriter Michael Green do not vary much from what they delivered in the other two movies. Perhaps they think they are giving their audience exactly what they want. They should’ve gone for more. Bigger characters, more opulent settings, and a better story overall. That’s what a third outing calls for. Keep serving the same tired old formula and the audience might just stop watching.
From writer/director Rick Walker and inspired by Cliff Graham’s short film Hold The Pass, the spiritual feature Guardians opens with images of Oklahoma City, as well as the bombing memorial as a voiceover (Shawnee Brittan), theorizes about whether guardian angels are truly real. We see art photographer Emily (Cherish Rodriguez) taking one beautiful picture after another. She has quite the eye. She also has quite the throat, as we then see a montage of her guzzling one liquor bottle after another. Then there is a horrible drunk driving incident, and Emily barely survives, only remembering a blurry figure standing over her bloody, mangled body and then later waking in the hospital.
One year later, Emily teaches history in a grade school with her close friend, music teacher Anne (Mackenzie McIntyre). Anne is worried as she is sure her abusive ex Ronnie (Lou Renova) will get released from jail again, even though it is a repeat offense. They know each other through AA, which is also how Emily helped Anne get on with the school. They both feel like they are watched over by guardian angels for both to be still alive. The school janitor, Gabe (Wil Wilson), bids them goodnight while moping and keeping an eye on them. They both plan to meet together for a quiet, sober night of pizza at Anne’s later, with Emily planning to meet her there.
“Anne is worried as she is sure her abusive ex Ronnie will get released from jail again…”
Emily never makes it, as she is savagely beaten bloody in the back of an alley when trying to buy opioids from an oxy dealer (Clint McGown). Anne gets a message from Emily’s number telling her to come help with a pinned location. Anne drives over and finds someone has safely propped up Emily’s unconscious body in the passenger side of Emily’s car. Anne gets her to the hospital, where Dr. Renee Kennedy (Taylor Armstrong) is going to look after her.
On the way home, Anne stops by a bar in a moment of weakness. The bartender, Blue (Samantha Radcliffe), knows Anne and serves her something with no alcohol. Blue tells her about this amazing new preacher in town that she can take her to tomorrow. Anne agrees some church could do her good right now with Emily in a coma. They both hear Rev. Willis (Eric Roberts) speak to the congregation about people’s trials. He starts telling the story of Shamgar from the book of Judges, who faced 600 Philistine warriors on an icy mountain with nothing but a cattle prod. He asks everyone to close their eyes to imagine what happened. Suddenly, Anne is on a snow-covered mountain, staring at the ragged, hairy man facing down legions of soldiers armed to the teeth.
A former dental office in Rutland is now home to Kelowna’s newest family medical clinic.
In mid-August, EB Medical Clinics opened its doors along the 200 block of Dougall Road. The clinic has seven listed physicians and is accepting new patients.
EB Medical Clinics also has a West Kelowna location, along the 2400 block of Main Street.
New transport protocols resulting in better outcomes for stroke patients in the Okanagan and surrounding area
“We have two new physicians who have joined us and there are more on the way,” said Dr. Celestine Esume, who graduated from medical school in Nigeria in 1999, later worked in England for several years, and has been in the Okanagan for the past four years.
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In selecting Rutland area of Kelowna, Esume said the community is highly underserved for its population when compared to other parts of the city.
According to BC Community Health, Rutland has a population of around 35,000. Notably, West Kelowna’s population is around 38,000.
Kelowna man shares his cancer story to encourage other men to get tested for prostate cancer
Last month, a survey by the Angus Reid Institute said that one in five Canadians don’t have a family doctor, and that many are having a tough time booking a timely appointment with their current physician.
Since the clinic’s doors opened, Esume said word is spreading and patients are now signing up.
“We’re trying to bridge that gap,” said Esume. “It’s one thing to provide physicians, and now we’re asking for people to be aware (the clinic is open).”
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More information about EB Medical Clinics, including sign-up information, is available online.
Congrats are in order! Stassi Schroeder gave birth to baby No. 2, a son named Messer Rhys Clark.
“MESSER RHYS CLARK, born at 12:04 am on September 7th, 7 lbs 14 oz, 19.5 inches,” the podcast host announced on September 9. “We love him so much already, send prayers Hartford doesn’t terrorize him.”
The Vanderpump Rules alum shared the baby news in March. “Secrets stress me out. Baby #2, I love you so much already,” Stassi shared via Instagram, alongside a snap showing off her baby bump, featuring her daughter Hartford, 2, cuddled up against her.
As for Beau’s part, he posted a wholesome pic of the family, where he is enthusiastically showing a sonogram to their daughter. “Yeahhhhhh, we were totally hiding the Bump,” he captioned the Instagram post. He also included a picture of the couple while they were on a trip in New York — where he is holding her baby bump — which was a week before announcing the pregnancy news.
Less than two weeks later, the couple announced that they are having a boy on an episode of their “The Good The Bad The Baby” podcast. While recording, Stassi and Beau called their daughter to let her know she was going to be having a baby brother. “I knew the whole entire time that we were having a boy,” the Bravo star told her listeners. “I kept saying it. I felt it. It was a vibe. … I don’t know how to f–king explain it.”
She felt “so in tune with her body” that she was “so convinced” she was having a boy. Stassi has kept her followers updated on social media during the time of her pregnancy. In June, she shared a bunch of pics from a photoshoot, where she posed naked showing off her baby bump — which you can see here. “Manifesting a well-adjusted mama’s boy,” the podcast host wrote.
Their daughter Hartford was born in January 2021, over a year after the reality stars tied the knot in a small ceremony in their backyard, due to COVID-19 restrictions. Stassi and Beau had a second wedding in Italy in May 2022 after restrictions were lifted.
A new biography of Elon Musk portrays the billionaire entrepreneur as a complex, tortured figure whose brilliance is often overshadowed by his inability to relate on a human level to the people around him — his wives, his children and those on whom he relied to help develop the space exploration and electric car businesses that made him the wealthiest man on Earth.
Mr. Musk’s life so far — his difficult childhood in South Africa, his stormy romantic relationships, his success as a visionary who built SpaceX and Tesla, and his impetuous decision to buy Twitter — is detailed through scores of interviews with his family, friends, business associates and Mr. Musk himself.
The book, which will be released on Tuesday, is by Walter Isaacson, the journalist whose previous works have chronicled the lives of Steve Jobs, Albert Einstein, Leonardo da Vinci and Benjamin Franklin.
It opens with a quote from Mr. Jobs, the co-founder of Apple, who once said, “The people who are crazy enough to think they can change the world are the ones who do.”
The New York Times bought copies of the book at a retail store that was selling it in advance of its authorized release.
Twitter, Now Known as X
Mr. Musk bought Twitter in October 2022 for $44 billion, after a surprise bid for the company and then a seeming reluctance to follow through with the deal.
Days after Twitter’s board approved the deal, Mr. Musk told his four teenage sons that he had purchased the social network to sway the next U.S. presidential election. “How else are we going to get Trump elected in 2024?” he said. (It was a joke, Mr. Isaacson writes, but Mr. Musk’s sons still didn’t understand his rationale for buying Twitter, an app they rarely used.)
After acquiring Twitter, Mr. Musk and his lieutenants combed through its employees’ internal communications and social media posts, looking for signs of disloyalty, Mr. Isaacson writes. The “musketeers,” as Musk loyalists were known inside Twitter, searched Twitter’s Slack archives for keywords including “Elon,” and fired dozens of employees who had made snarky comments about Mr. Musk.
Mr. Musk staged a surprise raid on a Twitter data facility in Sacramento, Calif., last winter, shortly after acquiring the company. Mr. Musk had decided to move servers housed in the facility to another Twitter data center to cut costs, but Twitter’s infrastructure leaders warned him that moving the expensive equipment safely could take months. In a fit of anger, Mr. Musk decided to move the servers himself, enlisting a small team and a flock of moving vans to haul them away on Christmas Eve. (He later said he regretted the decision, which led to service outages.)
Personal Life
Mr. Musk’s sprawling family has been a source of comfort amid the frequent turmoil of his industry-spanning business interests, Mr. Isaacson writes. But his relationship with his father, Errol, is a source of trauma that remains with him.
Mr. Musk’s father is described as emotionally and physically abusive and is quoted speaking disparagingly of Black people. When Mr. Musk agreed in 2016 to meet his father, from whom he has been largely estranged, a friend recalls to Mr. Isaacson, “It was the only time I had ever seen Elon’s hands shaking.” Mr. Isaacson writes, “There are certain people who occupy a demon’s corner of Musk’s head space. They trigger him, turn him dark, and rouse a cold anger. His father is number one.”
While the musician Grimes, also known as Claire Boucher, was giving birth to his son X in May 2020, Mr. Musk took a picture of the delivery and shared it with his friends and family, including her father and brothers. Grimes was understandably horrified and scrambled to get it deleted. “He was just clueless about why I’d be upset,” she told Mr. Isaacson.
Politics and Trump
Mr. Musk’s politics defy simple categorization. Despite his attacks on liberal critics, his rants against “woke” Democrats and his occasional promotion of far-right conspiracy theories, he is portrayed as more disillusioned with the leftward drift of the Democratic Party than he is a fan of Republicans.
Mr. Musk repeatedly professes not to be an admirer of former President Donald J. Trump, telling his biographer, “I’m not Trump’s fan. He’s disruptive.” Mr. Isaacson writes that Mr. Musk harbors a “deep disdain” for the former president “whom he considered a con man” and seemed, Mr. Musk says, “kind of nuts.”
But neither is he a Biden supporter, though he tells Mr. Isaacson that he would have voted for Mr. Biden in 2020 had he cast a ballot. (He decided not to vote because he was registered in California and considered it a waste because the state was not competitive in the presidential election.) Mr. Musk describes an encounter with Mr. Biden several years ago in which he came away unimpressed. “When he was vice president, I went to a lunch with him in San Francisco where he droned on for an hour and was boring as hell, like one of those dolls where you pull the string and it just says the same mindless phrases over and over.”
Artificial Intelligence
Mr. Musk has long been worried about artificial intelligence, which he considers a potential existential threat. He was a co-founder of OpenAI before breaking ties with the organization in 2018, and recently announced he was forming a rival A.I. company, X.AI.
Mr. Musk “summoned” Sam Altman, the chief executive of OpenAI, to a meeting at Twitter’s headquarters in February 2023, shortly after the release of ChatGPT. Mr. Musk angrily asked Mr. Altman to “justify how he could legally transform a nonprofit funded by donations into a for-profit that could make millions.” The encounter, Mr. Isaacson writes, left Mr. Altman “pained.”
Mr. Musk’s decision to start X.AI came partly out of concerns about underpopulation. (He is the father of 10 children.) “The amount of human intelligence, he noted, was leveling off because people were not having enough children. Meanwhile, the amount of computer intelligence was going up exponentially,” Mr. Isaacson writes. Mr. Musk believed that “at some point, biological brainpower would be dwarfed by digital brainpower.”
Mr. Musk’s gave X.AI’s early employees three goals: Create an A.I. chatbot capable of writing code, an A.I. chatbot trained to be politically neutral and an artificial intelligence that could reason and pursue truth. “You should be able to give it big tasks, such as ‘Build a better rocket engine,’” Mr. Musk told Mr. Isaacson.
Elon and the Media
Mr. Musk’s relationship with the media, which was already strained before he bought Twitter, reached new levels of tension after the deal was announced.
The “Seinfeld” co-creator Larry David confronted Elon Musk at the wedding in 2022 of Ari Emanuel, the chief executive of the media conglomerate Endeavor, who had seated them at the same table. “Do you just want to murder kids in schools?” Mr. David asked Mr. Musk, grilling him on his support of Republican candidates in the wake of the school shooting in Uvalde, Texas, that left 19 students dead. “No, no,” Mr. Musk replied, according to Mr. Isaacson. “I’m anti-kid murder.” Mr. Emanuel also seated the MSNBC host Joe Scarborough, another Musk critic, at the same table. “It ended up being a microcosm of Twitter,” Mr. Isaacson wrote.
As Mr. Musk’s erratic tweets damaged Twitter’s relationship with advertisers, he sought counsel from boldfaced names in the media industry on how to repair the rift. One was David Zaslav, the chief executive of Warner Bros. Discovery, which owns HBO, the Warner Bros. movie studio and CNN. They spoke for more than an hour. “Zaslav told him that he was doing self-destructive things that made it harder to attract brands that were aspirational. He should focus on improving the product by adding longer video offerings and making ads more effective.”
Tesla
For years, Tesla has been the highest-profile business in Mr. Musk’s portfolio of companies, serving as a constant source of pride and stress.
The company’s early struggles contributed to a long, difficult period for Mr. Musk, one that took a physical and mental toll, he told Mr. Isaacson in a 2021 interview. “You can’t be in a constant fight for survival, always in adrenaline mode, and not have it hurt you,” Mr. Musk said. But he also acknowledged that he had found purpose under pressure: “When you are no longer in a survive-or-die mode, it’s not that easy to get motivated every day.”
Even as the company found success, it attracted critics in the form of short-sellers who bet against Tesla’s stock. That practice reached a fever pitch in 2018 as Tesla struggled to meet production goals, infuriating Mr. Musk, who called short-sellers “leeches on the neck of business.” But he acknowledged that some of those traders had also collected an impressively accurate picture of the company from insiders and even drones flying over Tesla’s factory. “The degree of inside information they had was insane,” he said.
Production sprints and struggles at Tesla and the space exploration company SpaceX also sharpened Mr. Musk’s philosophy, which he distilled into a five-step approach that he called “the algorithm” and which he repeatedly invoked to employees. It involved, in order: questioning requirements, deleting parts or processes, simplifying and optimizing, accelerating processes, and, finally, automating. “I became a broken record on the algorithm,” Mr. Musk told Mr. Isaacson.
SpaceX
Mr. Musk created SpaceX to help humanity become a multi-planetary species. The company’s success so far is a credit to his willingness to accept risks, sometimes successfully and sometimes not.
During the countdown to a pivotal launch in 2015, an unidentified liquid began dripping from a Falcon 9 rocket, frightening Mark Juncosa, a top SpaceX official. Mr. Musk deliberated briefly before deciding to proceed, resulting in a successful launch. At the time, Mr. Juncosa assumed that Mr. Musk had based that decision on a complicated risk assessment, but realized he was wrong after reviewing footage years later. “I thought he had done some complex quick calculations to decide what to do, but in fact he just shrugged his shoulders and gave the order,” Mr. Juncosa said of Mr. Musk. “He had an intuition of what the physics were.”
To achieve interplanetary flight in the future, SpaceX needed to find a way to make money in the present. So in 2015, Mr. Musk announced Starlink, seeking to tap into the lucrative market of providing internet service, in this case through a constellation of low-orbit satellites. The service has become a vital lifeline to people in war zones and helped the Ukrainian military defend against Russian invasion. But Mr. Musk has also been criticized for not allowing Ukraine to use the service to launch a drone attack on a Russian naval base last year, fearing that it would have provoked a major escalation in the war. “We did not want to be a part of that,” Mr. Musk said.
In 2021, SpaceX for the first time successfully sent a crew into orbit without a professional astronaut aboard. Afterward, Mr. Musk reflected on the role that he and his company had played in advancing space exploration. “Building mass-market electric cars was inevitable,” he said. “It would have happened without me. But becoming a space-faring civilization is not inevitable.” He added, “This flight was a great example of how progress requires human agency.”
Logline: Two self-obsessed businessmen (writers Aaron Jackson & Josh Sharp) discover they’re long-lost identical twins and come together to plot the reunion of their eccentric divorced parents, in this riotously funny and depraved musical from comedy icon Larry Charles (Seinfeld, Borat) also starring Megan Thee Stallion, Nathan Lane, Megan Mullally, and Bowen Yang as God.
Distributor: A24
Premiere Date: Sept 07, 2023
Panelists: Josh Sharp, Aaron Jackson, Bowen Yang
Key Quotes: “It’s the Parent Trap if everyone were a gross awful monster…” – Josh Sharp
“And a musical.” – Aaron Jackson
“The stage show was so fast and quick, they find out they’re twins in the first song, so we get to live in the beats more and explore the characters.” – Aaron Jackson
“And cast Tony winners… which we wanted to do at UCB, but Tony winners won’t work for negative money, it turns out.” – Josh Sharp
