Categories
Widget Image
Trending
Recent Posts
Monday, Oct 19th, 2026
HomeStandard Blog Whole Post (Page 848)

CINEQUEST FILM FESTIVAL 2023 REVIEW! The freshest of takes. I’m going to say that Diana Zuros’ feature film, Since August, isn’t the most original story from a plot standpoint, but it is about as fresh of a take on trauma, grief, and loss as you’re going to get. It’s also why independent filmmakers can often eclipse anything the big studios have to offer.

Since August opens with Elizabeth (Sabina Akhmedova) lying in her bed at a rehabilitation center. We then jump back several weeks to see how we got there as Elizabeth stands at her window sill peering into Vedette’s (Antoinette Abbamonte) apartment.

For all we know, Elizabeth and Vedette are strangers, but what piques Elizabeth’s interest is Vedette is hearing-impaired and speaks only through American Sign Language (ASL). Elizabeth quickly learns ASL by watching YouTube videos and observing Vedette through her binoculars. Elizabeth then engages in other stalkery behavior by following Vedette around town as she shops and attends improv class.

One day, Elizabeth makes the bold move and speaks with Vedette. The naive Vedette accepts Elizabeth’s advancements as genuine, and the two become fast friends. Elizabeth reveals that she is an addict, which bodes well for Vedette, who has been in recovery for quite some time. Vedette helps Elizabeth by becoming a sponsor to her…of soft. But what are Elizabeth’s true intentions toward Vedette?

“Elizabeth then engages in other stalkery behavior by following Vedette around town…”

So let’s talk about the most unique element of Since August, and that is the story is told predominantly in sign language, but not in the way you’d expect. It’s not merely replacing a dialogue-dense script and translating it into sign language. In fact, I’d say seventy percent of the film is without words and takes the adage, “Show. Don’t tell!” to the extreme.

The majority of Since August is performance-based. Leads Akhmedova and Abbamonte say most of their lines through body language and facial expressions. The actual sign language is minimal, as if using one’s body is another way to communicate feelings and emotions. No, this is not a performance piece, but it’s authentic in how we speak without words. The acting is aided only by a haunted cello, and strings score behind it.

The story behind Since August is like an onion, and its layers are peeled back over time. Writer/director Diana Zuros explores issues of addiction through the lens of loss while at the same time telling a story of forgiveness and redemption. Taking a nod from AA, the road to recovery is one that can not be walked alone, as Elizabeth and Vedette share much in common, particularly their trauma. Like all good cinema, we care a lot about this friendship, and then it’s tested. If there is a negative, the story moves slowly, and for obvious reasons, it has an almost quiet and serene tone to it.

There will be a great deal of buzz surrounding Since August in that it’s a film spoken primarily in ASL. What I like is that it’s more than that. ASL is by far only one of the ways the actors communicate and a testament to Zuros for pushing the boundaries of storytelling and continuing to make independent filmmaking great.

Since August screened at the 2023 Cinequest Film Festival.

Source link

CINEQUEST FILM FESTIVAL 2023 REVIEW! The freshest

The Lytton First Nation issued an evacuation order and alert Thursday evening due to a nearby wildfire.

The Stein Mountain fire is an estimated 490 hectares in size and burning approximately 15 kilometres northwest of Lytton and west of the Fraser River.

Any residents of the Nkaih IR 10 and Lytton IR 9A must leave the area immediately.

The evacuation route is north to Lillooet on the Westside Road or south to Lytton via the reaction ferry.

Wildfire activity has also closed Highway 1 between Hope and Lytton.

Tactical evacuations were also underway in the Keefers and Nahatlach area north of Boston Bar, Thursday afternoon due to an aggressively expanding wildfire.

The Fraser Valley Regional District issued an evacuation order shortly before 6:30 p.m. due to the 485-hectare Kookpi Creek wildfire.

Story continues below advertisement

Meanwhile, residents of the Stryen IR 9  near Lytton are under evacuation alert and must leave if it is upgraded.


Click to play video: 'Lytton, B.C. tries to rebuild 2 years after wildfire tragedy'


Lytton, B.C. tries to rebuild 2 years after wildfire tragedy



A look at the evacuation order and alert connected to the Stein Mountain fire.


Lytton First Nation

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

Source link

Descrease article font size Increase article font size The

It would come as no surprise to learn that “Back on the Strip” started out as a “Magic Mike” parody. I’m not saying that it did. (The main character is named Merlin, not Mike, after all.) But what else could explain the bizarrely literal premise of an ensemble indie comedy in which our hero is a wannabe magician who heads to Vegas hoping to be the next David Copperfield, only to wind up shaking his wand for a Chippendales-style male dance revue instead?

What makes “Strip” so consistently funny for most of its too-long two-hour running time isn’t Merlin’s lame prestidigi-dream (that part feels like co-writers Chris Sanders and Eric Daniel have been watching too many Nickelodeon movies) but the sorry state of his fellow dancers: a has-been crew called the Chocolate Chips. That fairly original hook allowed the filmmakers to round up an A-list lineup for this C-grade endeavor. The movie features everyone from Tiffany Haddish (as Merlin’s mom) to Wesley Snipes (playing team captain “Mr. Big,” real name Luther). There’s even a one-scene cameo from Kevin Hart (fully dressed, mind you) in which he flips out after Merlin flops out.

How to put it politely? Merlin may not be much of a magician, but he’s “blessed” with other gifts — the joke being that this oblivious kid has missed his calling. Every time he goes on stage, the audience winds up oohing and aahing. Whether it’s the audition where his costume catches fire, exposing Merlin’s bulging basket, or the talent show at which his rivals yank his pants down in front of the whole school, the movie makes a big deal of his endowment (even if it denies audiences the big “Boogie Nights” reveal). But is size really a stripper’s most important asset? In the movie’s reductive view of things, it’s practically all that matters, whereas the dancers’ personalities are what win us over.

When Merlin shows up at the Cookie Club (a run-down showroom in desperate need of saving), Luther gets one look at the kid’s bulge and decides to reassemble the Chocolate Chips. Mr. Big — who bears a certain genetic similarity to Merlin (you do the math) — broke his leg in a car accident a while back, so he doesn’t dance. Instead, he’ll be serving as emcee, relying on Merlin to headline. But first, they’ll need to convince the other four strippers to put their thongs back on.

Rather than casting hot bodies, the movie looks to comedians with more unconventional physiques to embody the out-to-pasture old team — which turns out to be a much better strategy. Think about it: Unless you’re a strip club regular, chances are, nervous laughter (and/or judgy jokes at the studs’ expense) is your natural reaction to a burlesque show. “Strip” leans into that impulse, as Sanders treats the routines as comedic set-pieces, devising obstacles for each of the dancers, while den mother Rita (Colleen Camp) cheers them on.

Bill Bellamy plays Tyriq, who’s now a stay-at-home dad with quadruplets. As Luther puts it, “A lot has changed since I saw you with four girls in one bed.” The transformation is even more dramatic with Desmond “Da Body” (plus-sized comic Faizon Love), who doesn’t look a thing like the heavily PhotoShopped poster of his once-chiseled former self. Charismatic Amos, aka “Mr. Slim Sexy” (J.B. Smoove), still has the moves, but now puts them to work as a pastor. And everyone’s surprised to discover that Dr. X (the very white Gary Owen) is in fact very white. Turns out, the crotch-stuffing impostor spray-tanned his way into their ranks … and doesn’t seem that bothered by the deception.

In real life, none of these men would likely find work stripping on the ultra-competitive, image-conscious Las Vegas Strip — but they’re a lot more amusing than bodybuilders slathered in baby oil would be. (Why go to the theater for the latter, when indecent thirst traps are giving it away for free on Instagram?) “Back on the Strip” is a bring-your-friends, girls’-night-out kind of movie, and like “Magic Mike XXL,” it has a more expansive view of what women find sexy. I LOLed when “daddy” Tyriq picked up one woman’s vest and folded it, the way he does his daughter’s laundry. And I won’t soon forget the sight of Desmond transformed into a human sundae, dousing himself in sprinkles.

What doesn’t work is that darn magic subplot, or the boring romance between Merlin and lifelong bestie Robin (Raigan Harris), who comes back from Juilliard with a new beau, Blaze (Ryan Alexander Holmes), a viral prank-video phenom whose proposal dashes Merlin’s hopes of marrying Robin himself. Can he win her back? Will his new stripping career sabotage his chances? And perhaps most importantly, what happens to the magician’s rabbit glimpsed in the opening scene?

Despite wall-to-wall narration by Haddish (at her most raunchy), the movie does a clumsy job of telling a not-very-complicated story. Then again, this lean team effort is Sanders’ directorial debut, and he gets the laughs. Strip away the pomp and polish of a bigger budget project, and that’s all that matters.

Source link

It would come as no surprise to

“To create all these different looks, on an episodic schedule in the Hudson Valley, was a challenge but also the most gratifying,” says Poker Face production designer Judy Rhee. “We created this seamless show in terms following of Charlie’s travels and to have it feel authentic and convincing to the audience I think was successful.”

Poker Face, created by Rian Johnson, follows Charlie Cale (Natasha Lyonne) as she travels the country on the run from a mob boss. With an unnatural ability to detect when someone is lying, Charlie finds herself in the middle of more than a few murder mysteries. “During my interview with Rian, he had mentioned that a lot of the inspiration was from ’70s and ’80s mystery of the week, like Columbo, The Rockford Files and Murder She Wrote,” says Rhee. “I loved the travel aspect of it, that we don’t ever repeat… that it was going to be individual stories and that we got to see her and follow her through these different scenarios in her travels.”

Rhee is nominated for “The Orpheus Syndrome”, in which Charlie becomes friends with a reclusive special effects artist played by Nick Nolte. “We had to put together 30 plus years of Nick Nolte’s character, who was loosely based on Phil Tippett, so a lot of research came from looking at George Lucas’ company for LAM as well as Phil Tippett’s history and his studio,” she says.

Rhee says the research yielded a “wealth of information” that resulted in a very unique and unexpected look for the episode. “Having worked with Phil Tippet and all of his creations added a whole other layer of interest. It was different from anything else we’ve seen in other shows, as well as in our series.”

The biggest challenge for Rhee was finding a location for the LAM building, which needed a unique structure that fit the story. “[LAM] had to have a kind of presence and uniqueness to any other building that you’re going to find or see in the Hudson Vally,” she says. “When we came across that I.M. Pei building, we all knew that this is it. It was so beautiful and it photographed so well and it represented the grandeur of the company and it’s history.”

Click the video above to watch the full interview.

Source link

“To create all these different looks, on

David Spade is revealing the time he turned down David Bowie’s request to switch roles with him for a sketch on Saturday Night Live.

During a recent episode of the Fly on the Wall podcast (recorded before the actors strike), which Spade co-hosts with Dana Carvey, the SNL alum recalled a skit he had written for a November 1991 episode, hosted by Macaulay Culkin with Bowie and Tin Machine as the musical guest.

In the sketch, Spade had himself playing a receptionist that “stops you because he thinks they’re better than you,” and he envisioned Bowie making a cameo as himself. Since the singer-songwriter wasn’t at the pitch meeting to hear the idea, Spade was surprised to get a message asking him to call Bowie at his hotel.

“I called him and he answers and it’s fucking Bowie,” he said. “And he’s like, ‘This [sketch] is so fucking funny. This is exactly my life and these people I see.’ And he goes, ‘One tweak: Can I play the receptionist? … That’s the funnier part.’”

Bowie proceeded to argue that playing himself was “kind of boring” since “everyone’s seen that,” and he suggested that Spade play Bowie and he could play the receptionist. But the comedian said he turned down his request because he was hoping it would turn into a recurring character.

Spade added that he still couldn’t believe he found the courage to shut down the legendary singer, who died in 2016. But he said Bowie was persistent and even countered with, “Well, what if the sketch never gets on [the show.]”

“I’m like, ‘God, how do you know this show this well?’” the Grown Ups actor recalled thinking at the time. “It’s so true. What if it doesn’t get on? I’m fucking blowing it. He’s like, ‘It’ll get on if I do it.’”

Spade noted that the musician wasn’t rude about the situation but just expressed to him that “playing myself isn’t that fun.”

Though he understood where Bowie was coming from, Spade admitted that the whole sketch may have backfired on him because not only did it not get picked up for the show, but the actor also didn’t appear in any other sketches the entire episode. He recalled, “The rest of the week I wasn’t in the show and I was like, ‘Fuck.’”

In the end, there was no bad blood between the pair. The Joe Dirt star added that during the episode’s goodnights, Bowie came up to him and said, “Hey, sorry, man … I get what was going on and I shouldn’t have been a like little chilly about it.”

Spade was a writer and cast member on the NBC sketch comedy series from 1990 to 1996.

Source link

David Spade is revealing the time he

Last Updated: August 17, 2023, 22:44 IST

SS Rajamouli reviews Aamir Khan’s Laal Singh Chadha; Jad and Akanksha Kiss Again

From SS Rajamouli calling out Aamir Khan’s performance in Laal Singh Chadha to Jad Hadid and Akanksha Puri getting brutally trolled for kissing in public, here are the biggest headlines of the day.

When Aamir Khan’s Laal Singh Chaddha was released in August 2022, it failed to leave a mark at the box office. The film, which also starred Kareena Kapoor Khan in the lead, could not impress critics and audiences alike. Now, Aamir’s cousin and director Mansoor Khan has revealed that even filmmaker SS Rajamouli had informed Aamir that he was ‘overacting’ in the Advait Chandan directorial. Mansoor had earlier told Aamir Khan his acting in the Bollywood adaptation of the Hollywood classic “Forrest Gump” was “over the top”.

For More: SS Rajamouli Told Aamir Khan ‘Overacting Lag Raha Hai’ After Watching Laal Singh Chaddha

Jad Hadid and Akanksha Puri are getting brutally trolled following their appearance at Palak Purswani’s star-studded birthday celebration. The duo, who made headlines for their kiss on Bigg Boss OTT season 2, was seen on the red carpet posing for pictures. During the photo-op, Jad and Akanksha were seen getting playful with each other and giving each other kisses. A video of the same has gone viral. The sight has left fans upset, with many calling them out for their act.

For More: Jad Hadid, Akanksha Puri Get BRUTALLY Trolled For ‘Kissing’ In Public After Bigg Boss OTT 2 Lip-Lock

Apart from being a stellar actress and a producer, Priyanka Chopra is also a successful entrepreneur and has time and again expanded her business ambitions, by venturing into several avenues including the hospitality sector. Having said that, back in 2021, the actress started a restaurant named Sona in New York with Maneesh Goyal. Buzz is that, the actress is now stepping away from the same almost after 2 years. According to a report in People, the global icon has stepped away from her partnership with NYC restaurant Sona.

For More: Priyanka Chopra Quits Partnership With Her New York Restaurant Sona; Here’s Why

Two low-intensity bombs were reportedly thrown outside a Patna (Bihar) theatre where the screening of Sunny Deol and Ameesha Patel starrer Gadar 2 was underway. As reported by Bollywood Hungama, the attack created a ruckus at the cinema hall. However, no casualties have been reported. The owner of the cinema hall confirmed the news and claimed that the miscreants also bullied the staff members. He further alleged that the problem started after a couple of people, who wanted to black-market the tickets of Gadar 2, were caught. Reportedly, they have now been arrested.

For More: Gadar 2: Bombs Thrown Outside Patna Theatre, Staff Members Allegedly Bullied, No Casualties

Ahead of the release of Ayushmann Khurrana’s much-awaited Dream Girl 2, the makers gifted a magical moment to fans by making his character Pooja meet the OG and legendary Dream Girl Hema Malini. In an extraordinary fusion of nostalgia and entertainment, the iconic ‘Dream Girl’ of yesteryears, Hema Malini, and the sensational ‘Dream Girl’ of today, Ayushmann Khurrana, came face-to-face, leaving fans in awe as they united to promote the highly anticipated ‘Dream Girl 2.’

For More: Viral! OG Dream Girl Hema Malini Finally Meets Ayushmann Khurrana’s Pooja From Dream Girl 2

Source link

Last Updated: August 17, 2023, 22:44 ISTSS

If you are at all interested in the cultural history of the English-speaking world, and are a person with access to the Internet, your research is liable have led you at some point to Sir Michael Parkinson, British television interviewer, who died Wednesday at the age of 88.

In American media, his closest counterpart would be Dick Cavett, for the breadth and depth of his interviews, though their attitudes are dissimilar, Parkinson having had a background in print journalism and Cavett coming from comedy writing. And where Cavett was in his time a kind of rarefied taste, at least compared to other late-night interviewers, Parkinson, the son and grandson of miners, was a prime-time institution and national treasure, certified by a CBE and knighthood. The thousands of interviews he conducted over his career form an encyclopedia of his especially interesting times.

The figures who appeared on Parkinson’s talk shows, which came and went from 1971 to 2007, include Kirk Douglas, James Stewart, Bing Crosby, Orson Welles, Fred Astaire, Robin Williams, Kenneth Williams (those who know, know), Peter Cook, Peter Sellers, Spike Milligan, John Cleese, Stephen Fry, Barry Humphries (as Dame Edna Everage), Richard Burton, Peter O’Toole, Paul McCartney, “Sunshine Boys” co-stars George Burns and Walter Matthau, Peter Ustinov, Billy Connolly, old friends James Cagney and Pat O’Brien, David Bowie, Elton John, Noel Gallagher, Madonna and a 96-year-old Salvation Army major. American subjects, faced with a different audience, sometimes seemed to speak more freely.

We are in an age of talk; the podcast boom has created innumerable hours of conversation on every subject imaginable, from celebrity to politics to vintage amplifiers. Still, there is a special level of sangfroid required to sit down with famous people in front of a camera and an audience and just … talk.

“You can’t rehearse an interview,” Parkinson said on “Good Morning Britain” late last year, promoting his book “My Sporting Life.” “That’s the joy of it all, that’s the uncertainty of it all. It takes some doing to actually be frank in an interview, to actually ask the questions properly, and not try to be delicate around certain subjects… It’s not just a question of reading the research.”

Parkinson in 2017.

(Stuart C. Wilson / Getty Images)

Parkinson once called a chat show “an unnatural act between consenting adults in public.” But where American talk shows have largely devolved to fluff, highly managed and obviously promotional, with pat questions and guarded answers, the hope in a show like Parkinson’s was that something real might happen, that we might learn something, rather than merely be entertained — even as we are entertained. And it mattered, too, that the interviewer himself was interested.

There were famously tense interviews with a confrontational Muhammad Ali (who would return over the years, and whom Parkinson would call “the most extraordinary human being I ever met”) in 1971, the first year of his first BBC series, and an uncomfortable Meg Ryan, in 2003, for which he later apologized. But these were exceptions. Overwhelmingly, Parkinson seemed to be enjoying himself, and never less than present. He laughed easily, but not ostentatiously, or obsequiously. Unlike some hosts, he did not make a show of himself — though he is not averse, when appropriate, to putting on a show.

In one memorable segment, he interviews Kermit the Frog about his relationship with Miss Piggy, for whom he confesses his own love (“You’re in big trouble,” says Kermit). It leads to a nose-to-snout scene between human host and porcine Muppet.

“Can I ask you just one deeply personal question,” asks Miss Piggy, turning the tables. “Is that a toupee?”

“If things go right,” Parkinson replies, “you might learn the truth later on.”

A man leaning against a tree before a white house.

Parkinson at home in Berkshire, England, in 1981.

(Mirrorpix/Getty Images)

Source link

If you are at all interested

The upcoming, real-world version of Scott Lang’s memoir Look Out for The Little Guy! gave an in-universe reason for the book’s existence, along with revealing three heroes who publicized the events of Avengers: Endgame.

Ant-Man and The Wasp: Quantumania might not be everyone’s favorite MCU movie, but most agree that it brought some cool things to the table. Case and point, Look Out For The Little Guy!, the autobiography that Ant-Man himself, Scott Lang has written in the film, will soon be a real book that fans can actually purchase.

Since Endgame, several characters in the MCU seem to have detailed knowledge of how events went down in its climactic battle. Many viewers were left wondering how civilians would have access to that information and it appears that Marvel may have developed an answer.

Ant-Man’s Memoir Was Ordered by 2 Big Name Avengers

Marvel Studios

A new excerpt has been shown (via Marvel.com) from Look Out For The Little Guy!, revealing the three Avengers that were behind the in-universe publicity stunt.

The book is a personal memoir of various MCU events through the eyes of its “author” Scott Lang aka Ant-Man (played by Paul Rudd).

In the opening of Lang’s book, he elaborates on how it came to be. As it turns out, two of the original Avengers, Bruce Banner and Clint Barton, personally approached Scott to provide the people of Earth with specific details of what happened during events like the Blip and the Battle of Earth.

Despite the size-changing hero’s status as “an ordinary guy,” the Avengers put their trust in him to tell the world their story:

“In a word, I’m an ordinary guy who’s been thrust—more than once—into extraordinary circumstances.

And I know that still doesn’t completely answer the question of why I wrote this book.

The simple answer is, ‘The Avengers asked me to.’

One day, ‘Bruce the Hulk’ Banner and Clint ‘Hawkeye’ Barton took me out for lunch. They said they were concerned that the world didn’t really know what had happened with Thanos and the Blip and our long struggle to finally put things right again.”

But why specifically was Scott chosen? As Clint put it, Lang has still “got one foot in their world,” by which he meant that with his plucky, everyman nature and friendly demeanor, Scott still knew how to connect and appeal to the average Joe Schmoe in the MCU:

“At first, as I usually do when confronted with heavy topics, I made a joke: ‘I’m pretty sure at least half the world knows what happened.’

Bruce responded that yes, of course, billions had experienced these jarring and mind-bending events, but they didn’t know the full story behind them. And ultimately, that’s what people need the most to get through and get past traumatic events: a narrative that helps it all make sense.

‘Okay,’ I agreed. ‘Solid plan. So who are you going to get to tell that story?’

Clint answered, ‘You, Scott. You’re the guy who got scooped up in all this pretty recently. You’ve still got one foot in their world. And you’re a guy everyone likes . . . and trusts.’

And Bruce sealed the deal: “’t’s tough stuff, and no one knows how to keep it light like you.’”

And so, Scott was promised by his fellow heroes that he’d have access to a variety of resources, videos, documents, and the ability to conduct interviews so that he could get the job done:

“Well. I still had tons of doubts. I was hardly an eyewitness to almost all that history. I hadn’t been around for the Battle of Wakanda, or any of the events that led to Thanos gathering the various Infinity Stones.

But pretty much immediately, I knew what my answer would be. As far as I’m concerned, when the Avengers ask you do to a job—any job—you say yes. So I did. Two quick handshakes (Bruce—now permanently in his Hulk body—made sure to keep his ‘not too firm’), and it was settled. They’d supply me all the archival footage and documentation, take me anywhere I needed to go, and let me ask as many questions as I needed.

The only thing is, it wasn’t actually 100 percent settled for me—on the inside. From the confidence peak of having two amazing Super Heroes place their trust in you, there was a frighteningly steep plummet into self-doubt.”

Still, the budding author was nervous, since he didn’t feel at all self-assured in his ability to accurately convey events. Moreover, he felt incredibly underqualified. He also recalled the events that lead up to his being incarcerated, prior to the events of 2015’s Ant-Man, as evidence for his doubt in himself:

“Even with their sensible reasons, the whole affair just stirred up a question that’s been burning inside me most of my adult life:

Why me?

I’ve been asking myself that since before I even met the Avengers. Back when I was working at VistaCorp, why was I the only one who couldn’t sleep at night after learning of all the money they were stealing from customers? Why did I basically give up my job, give up my marriage, and spend three years in San Quentin, just so I could play Robin Hood?

And finally—and this one still smarts—when VistaCorp’s nasty business became public to the world, why was I the one who ended up going down for it?

I don’t know the answers to these questions. And perhaps I never will.”

Previously, Peyton Reed, who directed all three movies in the Ant-Man trilogy, mentioned the reasoning behind Look Out For The Little Guy!:

“As we see Scott at the beginning of ‘Quantumania,’ he’s sort of looking to the past, he’s looking in the rear-view mirror a little bit. He’s actually written a book. He was chosen by the Avengers to write the official account of the battle against Thanos, and also to tell the story about how he became a hero.”

Scott Lang’s Book Looks To Be a Fun Read

Look Out For The Little Guy! will indeed hit bookstore shelves and online retailers soon. It’s an extremely clever move on Marvel and Disney’s part to have an actual, in-universe book that was written by a character in one of their movies literally be made available for everyone in our world to read.

The memoir, which is being published by Hyperion Avenue (a Disney-owned imprint) will reportedly not only explore the events of Avengers: Endgame, but also dig deep into what makes Scott Lang tick.

Lang has had an exciting journey since his first MCU appearance in 2015 and he’s been involved with several battles, both tiny and massive. So, Look Out For The Little Guy! will provide fans an exciting opportunity to learn his full story as only he can tell it.

It’s also interesting to note that this isn’t the first time in the MCU that Scott has stepped up to enlighten the people of Earth-616 on the Battle of Earth. Ms. Marvel Episode 1 establishes that Lang guested on a fictional podcast called This Powered Life where he broke down the fight during an interview entitled “Big Me, Little Me – A Scott Lang Interview.”

Look Out For The Little Guy! will be on sale starting on Tuesday, September 5.

Source link

’80s horror is far more than it’s cracked up to be. Unlike the ’70s which were loaded with iconic films, zombie masterpieces, and paranormal gems, the slasher-heavy decade of the ’80s brought some renowned classics and little treasures as well. Admittedly, there were a great deal of questionable films in the ’80s, as slashers became the norm, and violent goofiness rose to prominence. Effects were at their cheesiest, and borderline parody seemed to be a draw for audiences. To some extent, people began really wanting silliness in their gory horror. Amidst the cheese, however, there was a slew of outright great and criminally overlooked horror flicks. These films still showcased atmosphere, slow builds, and genuine creepiness. It wasn’t purely killer flicks, though even many of the slashers don’t get the credit they deserve for being the stars of solid films.

One thing’s for certain – directors in the ’80s still knew how to scare, and they aimed to prove it any chance they had. So, today we’re going to count down a few of the scariest horror films the ’80s had to offer. Many of these are widely known, while others will feel like surprising picks. There’s no particular ranking in the list, but a little piece of advice: be sure to watch every one of them, as they represent a great decade that’s still being used as a reference in current pop culture icons directly inspired by what made the ’80s the best decade for commercial cinema.

Updated on August 17th, 2023 by Federico Furzan: This article has been updated with additional content to keep the discussion fresh and relevant with even more information and new entries.

20 Children of the Corn (1984)

New World Pictures

Children of the Corn, despite any and all critiques, aged incredibly well. Inspired by the work of Stephen King (a name that you will show up more than once on this list), the film tells the story of an unfortunate couple who get stranded in a town that’s in the middle of nowhere, and where kids have taken command.

They’re following a religious norm that calls for violence against adults and arguably everyone who sins. The film’s well executed, but ultimately it’s the idea that makes it a frightening film that will make you doubt taking your next road trip. The opening sequence in the diner is, to this very day, one of the most terrifying scenes on film.

19 The Funhouse (1981)

The Funhouse tobe hooper
Universal Pictures

Tobe Hooper doesn’t get nearly enough credit for this all-encompassing fright, and that’s possible because he made The Texas Chain Saw Massacre years prior. The Funhouse is hard to categorize, though it’s mostly framed under slasher tropes.

Regardless, Hooper incorporates almost every element of horror here. It has it all – brutal killings, the paranormal, a deformed monster, and scared teenagers. You couldn’t expect much more from this sincerely disturbing, early ¿80s movie with a couple of unforgettable jump scares and a monster that will make you think before saying “Oh, carnivals! Those were pretty fun back in the day”.

18 Poltergeist (1982)

Poltergeist carol anne
MGM/UA Entertainment Co.

Tobe Hooper shows up again with the thing he did best: scare audiences out of their minds. Only this time, he came into every home and got inside the veins of ’80s America to plant a seed of absolute terror. In Poltergeist, the Freelings are an energic family of five that represent the best of the middle class.

A huge house where they’re building a swimming pool, a real estate business that seems to go really well, and just about every toy sold in the ’80s in the children’s bedroom. The thing is, this house comes with something. An evil presence that pulls Carol Anne inside and doesn’t let go. This conventional deconstruction of the American dream is one of the best horror films ever made.

17 A Nightmare on Elm Street (1984)

Freddy Krueger A Nightmare on Elm Street
New Line Cinema

Everyone sleeps. It’s a bodily function you can’t avoid. So, what if sleeping were dangerous? Not because you’re afraid of never waking up, but because something lurks in your nightmares: a burned psychopath with a glove that has knives coming out of it that will slash your body to pieces if he can catch you.

A Nightmare on Elm Street was Wes Craven’s masterpiece that put the slasher genre above the usual rules and added a mystical element that simply made it more complex. It’s not about naked women running while a guy in a mask tries to kill them. It’s about vulnerable people whose only sin was being born in a family whose parents served justice to a child predator years ago, and now the spirit of the monster is back to haunt their kids.

16 Hellraiser (1987)

Pinhead Cenobites Hellraiser
Entertainment Film Distributors

In Hellraiser, a man is after the exploration of pain as an inherent part of desire and lust. A device will show him exactly that. It will also open up the gates of another realm where ancient beings known as cenobites reside. All of this is framed in a story about a family starting over in a new house that used to belong to the man in question.

His brother’s new wife and his daughter come to live in the house he once owned. However, his wife is also deeply in love with his brother whose spirit resides in the attic and can materialize in this world if the woman brings him more victims for him to feed on. If you thought this was weird, wait until the very scary cenobites start showing up and become hell’s real estate dealers.

Related: The 15 Scariest Movies Ever Made, Ranked

15 Pet Sematary (1983)

Zelda pet sematary
Paramount Pictures

Pet Sematary is a jarring experience that still haunts us to this day. Inspired by Stephen King’s novel of the same name, it tells the story of a father who will do anything for his family. As they move to a small town, their neighbor tells them of a pet cemetery in the woodlands. He also tells them of an area they should step on that’s beyond the cemetery.

So, what happens when Gage, is killed and run over by a truck? The father takes the little boy’s body and buries him in an Indian burial ground that brings the dead back to life. What comes back isn’t exactly… cute. Still, this isn’t the scariest thing in the film. We’ll leave that to Zelda, one of the most effective horror characters in the ’80s that still haunts our dreams.

14 Sleepaway Camp (1983)

Sleepaway Camp last shot
United Film Distribution Company

Sleepaway Camp is so much more than a standard ’80s campy slasher and that comes down to the atmosphere. Although it’s shot in a beautiful location, a feeling of dread permeates throughout the entirety of Sleepaway Camp. It’s eerie from start to finish. The kills are all inventive.

But it’s that ending that makes it a great pick to be on this list. Because if you stayed for the kills and for enjoying classic ’80s material, then the ending will make you change your mind. It is simply one of the scariest final shots of all time. Pay no attention to those who wish to condemn it because of its depiction of gender dysphoria. It’s much more than that.

13 The Changeling (1980)

The Changeling stairs shot
Pan-Canadian Film Distributors

The Changeling is a very well-made haunted house movie. It relies on atmosphere, and what the audience doesn’t see, to truly frighten the hell out of us. There are no over-the-top ghosts or mangled children with stringy hair crawling – just sounds and the occasional spine-chilling visual.

It tells the story of a composer who after a tragedy that killed his wife and daughter, decides to move into an old house where something lurks in the dark. We won’t reveal anything else. Amidst the slew of corny, jump scare-ridden haunted house films, is a treasure known as The Changeling, starring the great George C. Scott.

12 The Thing (1982)

The Thing 1982
Universal Pictures

A damn near perfect sci-fi horror/thriller. The Thing is beautifully acted, grotesque in all the right ways, and not short on suspense. The practical effects look just fine today, and Carpenter has a knack for getting the right pacing.

It tells the story of researchers who come upon an extraterrestrial being in their facility in Antarctica. Only this alien doesn’t manifest in any shape or form you’d expect. It’s actually a shape-shifter that can adopt any life form and corrupt it as a vessel. The scene with the blood sampling is just unnerving and a great exercise in tension.

11 The Shining (1980)

The Shining danny room 237
Warner Bros. / Columbia-EMI-Warner Distributors

There’s a reason why hotels are sometimes very creepy. And the reason is called The Shining. Again, one of Stephen King’s works is taken to the big screen, but this time he hates it. Intensely. Nevertheless, The Shining is an absolute horror masterpiece that should be evaluated as a product with no relation to King’s work in order to enjoy it.

It’s a ghost story about a family who gets isolated in a hotel during the winter. The demons inside the hotel start clouding the mind of Jack, the father who’s a writer working on his latest novel. Ultimately, the demons win and Danny and Wendy become the victims of a man whose sole intention is to hack them to bits and live forever in the halls of the Overlook Hotel.

Related: The Scariest Moments in Stephen King Movies, Ranked

10 The Evil Dead (1981)

The Evil Dead cellar ghost
New Line Cinema

Sam Raimi’s The Evil Dead is a product of love for the genre. And Raimi shows he loves the hell out of it by creating a unique show of gore-ish horror that only steps into comedy when it has to. Later entries would further explore the comedic aspect of the story, though the original still shines in the horror genre.

Regardless, the film about a group of friends taking a trip to a cabin in the woods, and unleashing a demon, is very scary when it has to be. That creature coming out of the basement, the possessed girl, and Raimi’s frenetic camera style, are just a few reasons why The Evil Dead became the iconic film it is today.

9 The Entity (1982)

The Entity hershey
20th Century Fox

In The Entity, there’s no monster we can see. There’s no guy in a mask wielding a sharp weapon. And there are no tropes. This is just the story of a poor woman traumatized by something unfathomable. Barbara Hershey plays Carla Moran, a single mother who one day begins experiencing sexual assaults by an unseen force.

The attacks increase and with them the violence. Eventually, she attempts to find help and The Entity becomes a more grounded film about scientists investigating a paranormal incident. The score by Charles Bernstein is impressive to this day, and it makes the film even more effective.

8 Dressed to Kill (1980)

Nancy Allen Dressed to Kill 1980
Filmways Pictures

Brian de Palma’s Dressed to Kill is a slasher film that many would categorize as problematic because of its depiction of a transgender killer. However, it’s not as simple as that. There’s a reason why a killer’s doing this, and the artsy climax will actually help you.

Dressed to Kill plays like any other slasher with a higher budget, and a better director, but it’s that final scene that elevates it on the scare scale. It’s an unsettling sequence in which the audience is forced to face the explanation of what actually happened by simply portraying an aftermath in which the killer has been institutionalized. Unlike Psycho‘s much-criticized ending, this one actually works for making the film a bit better. And definitely scarier.

7 Creepshow 2 (1987)

Creepshow 2 the raft
New World Pictures

Creepshow was a definite icon of the ’80s. We won’t argue. However, Creepshow 2 takes the franchise and lands it on horror territory by making everything more serious and nightmare-inducing. The segments in the first one pushed everything towards comedy, but the sequel brought on short features that never felt funny or misdirected.

Take the segment called The Raft for example. It tells the story of a group of young people who swim on a lake and get attacked by a blob-like creature that has the speed of a jellyfish but the lethal force of a shark. One by one, they start to get eaten. Now, tone-wise this could have followed the rules of the first Creepshow, but fortunately, it doesn’t happen that way. What Jaws did for the beach, Creepshow 2 did for lakes.

6 The Fog (1980)

The Fog carpenter
AVCO Embassy Pictures

The Fog is John Carpenter’s cozy comfort film to watch on a stormy night. It tells the story of a coastal town that one night gets invaded by heavy fog and the beings that reside in it. They’re the ghosts of sailors who perished decades ago and for some reason, are looking for revenge against the living.

Starring Jamie Lee Curtis, Tom Atkins, and Adrienne Barbeau, The Fog is a practical effects horror vehicle that features Carpenter’s abilities in horror: his score, the great communication with cinematographer Dean Cundey, and an impending feeling of dread that’s never been repeated by any other director.

Related: The Most Iconic Moments in John Carpenter’s Films, Ranked

5 Aliens (1986)

Newt Aliens
20th Century Fox

James Cameron’s Aliens is everything Alien is not. And that’s a good thing! Cameron’s sequel is more of an action thriller taking place in space, and this one makes great use of enclosed spaces to make the audience feel trapped in the film.

Yes, it’s a sequel, and we were already aware of what a Xenomorph was. However, the improved special effects meant Cameron could expose and he does so, shocking the audience by making them face a monster that we still can’t understand.

4 Altered States (1980)

Altered states john hurt
Warner Bros.

In Altered States, a psychologist that doesn’t run on traditional science discovers the effects of sensory deprivation tanks and psychoactive drugs. What follows is his fall from grace as he insists there’s something to be explored on the other side.

However, it’s only accessible by submitting the human body to practices that shouldn’t exist in medicine. Only the surface of those worlds is shown in Ken Russell’s film, but it’s enough to creep you out. This very underrated film was the feature debut of John Hurt and Drew Barrymore.

3 Possession (1981)

Possession Isabelle Adjani
Gaumont

It’s very hard to explain what Possession is about. In fact, many fight over categorizing the genre it falls in. In any case, let’s just say it’s a horrific depiction of the human psyche being subjected to emotional warfare. At least, that’s what it looks like when seeing the effects in a couple that has decided to separate and divorce.

When infidelity enters the picture, the film gets weirder. If you don’t believe us, try to explain what the hell the tentacled creature is, what the subway scene represents, and what happens in the end with the doppelgangers. This is a very unsettling film that will stay with you for days.

2 Cujo (1983)

Cujo 1983 Dee Wallace
Warner Bros. / PSO International

The last movie on the list is based on a novel by Stephen King. Cujo‘s premise is basic. Dangerously simple. It tells the story of a mother and son who get trapped in a non-working car while a huge rabid dog is outside with no intention but to destroy them.

Under the scorching summer heat, things don’t look good for them. Heatstroke and dehydration enter the picture when anyone who tries to help them, gets killed. The film’s horribly violent and its practical effects are curiously effective.

1 Friday the 13th (1980)

Friday the 13th 1980
Paramount Pictures

Friday the 13th is a modern classic. There’s no other way to put it. Made more than 40 years ago, it still looks great, it’s still very scary, and its story feels logical. Never mind where the franchise went afterward, Friday the 13th is the real deal.

The iconic horror tells the story of a group of campers who get killed one by one by an angry mother whose only intention was to avenge her little Jason’s death. Its last scene is truly terrifying and perhaps the most important reason why the film deserves to be on this list.

Source link

'80s horror is far more than

Normally at the top of these Don’t-Miss Indies round-ups, we like to make a little joke that’s somewhat topical. But if you’ve been paying attention to what’s been going on in Hollywood for the past couple of months, you’ll know that the ongoing WGA and SAG-AFTRA strikes are no laughing matter (unless we’re talking about the writers’ signs.) In fact, right at press time not one but two of this months featured titles have been pushed, due to strike-related issues.

And while our blog deadlines being imperiled by the inhuman machinery of Late Capitalism is certainly a headache, our real concern is the wellbeing of our filmmaking community during this lean, labor-conscious strike period. Please consider donating to artist support funds like this or this.

 

SHORTCOMINGS

When You Can Watch: August 4

Where You Can Watch: Theaters

Director: Randall Park

Cast: Justin H. Min, Sherry Cola, Ally Maki, Debby Ryan

Why We’re Excited: Directed and produced by Fresh of the Boat alum Randall Park, this Asian-centric dramedy follows struggling filmmaker and arthouse movie theater manager Ben (Min), who becomes disillusioned when his girlfriend Miko (Maki) decides to move to New York for an internship. Adapted from The New Yorker writer Adrian Tomine’s graphic novel by the same name (Tomine also wrote the film’s screenplay), Park’s directorial debut is set in Berkeley as Ben is left to his own devices with best friend and queer grad student, Alice (Cola), to ponder what’s next. Premiering at Sundance earlier this year, Shortcomings screened as part of Film Independent Presents last month, featuring an in-person introduction by Park.

First_icon
LGBT_icon

 

 

A COMPASSIONATE SPY

When You Can Watch: August 4

Where You Can Watch: Theaters

Director: Steve James

Why We’re Excited: Perfectly timed to be a companion piece to one-half of last month’s “Barbenheimer” marketing juggernaut—the Oppenheimer half, to be clear—Steve James’ (Hoop Dreams) latest documentary focuses on the youngest physicist on the Manhattan Project, which created the world’s first atomic bomb at the Los Alamos Laboratory during WWII. Recruited out of Harvard when he was just 18 years old, Theodore Hall decided to do something to mitigate America’s post-war monopoly on weaponized nuclear power by passing on key information about the bomb’s construction to the Soviet Union. Explored via long interviews with Hall and his wife Joan, archival footage, and reenactments, the film was screened yesterday at our very own Film Independent Theater, with an in-person conversation with the two-time Film Independent Spirit Award winner James (The Interrupters, City So Real), moderated by Josh Welsh, President of Film Independent.

SA_icon

 

 

PASSAGES

When You Can Watch: August 4

Where You Can Watch: Theaters (Limited)

Director: Ira Sachs

Cast: Franz Rogowski, Ben Whishaw, Adele Exarchopoulos, Erwan Fale

Why We’re Excited: Five-time Spirit Award nominee Ira Sachs’ (Little Men, Love Is Strange) erotic drama—rated a controversial NC-17—chronicles a love triangle between movie director Tomas (Rogowski, Transit, Undine), his longtime husband Martin (two-time Spirit Awards Robert Altman winner, Whishaw) and Tomas’ new (female) lover, the young school teacher Agathe (Exarchopoulous, Blue Is the Warmest Color). It’s all fun and games until someone gets jealous, which is how Tomas reacts when Martin also sets out on his own extramarital affair. Set in Paris, the bilingual English/French drama screened at the Sundance and Berlin festivals earlier this year.

SA_icon
LGBT_icon

 

 

THE POD GENERATION

When You Can Watch: August 11

Where You Can Watch: Theaters

Director: Sophie Barthes

Cast: Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson, Veerle Dejaeger

Why We’re Excited: Written and directed by Spirit Awards alum Sophie Barthes (Madame Bovary, Cold Souls), this sci-fi romantic dramedy is set in a futuristic New York, where babies are “created” from detachable artificial wombs. Game of Thrones royalty Emilia Clarke plays Rachel, who is ready to start a family with husband, Alvy (Ejiofor, 12 Years a Slave and Showtime’s The Man Who Fell to Earth). As a perk from her job, Rachel lands a coveted womb-pod at the Womb Center. But, as a botanist, Alvy is a purist when it comes to nature and does not embrace the idea, thus beginning the couple’s tumultuous and tech-drenched trek to parenthood. Filmed primarily in Belgium, the feature premiered at Sundance earlier this year.

SA_icon
Females_icon

 

 

APORIA

When You Can Watch: August 11

Where You Can Watch: Theaters (Limited)

Director: Jared Moshé

Cast: Judy Greer, Edi Gathegi, Faithe Herman, Payman Maadi

Why We’re Excited: “We have this power, why shouldn’t we use it”—possibly the most terrifying nine words in the English language. Six years after his contemplative Western, The Ballad of Lefty Brown, director Moshé’s newest cinematic offering comes in the form of an indie sci-fi film about how far one would go to bring one’s loved ones back from the dead. Still reeling from debilitating grief six months after her husband’s death in a drunk-driving accident, Sophie (Greer, Jurassic World, Ant-Man) struggles with daughter Riley (Herman) as they cope with patriarch Mal’s (Gathegi, Briarpatch, The Harder They Fall) death. This is when Mal’s best friend, Jabir (Maadi, from Iranian Oscar-winner A Separation), presents the distraught widow with a mangled mess of metal and wires: a time machine that can fire a bullet into the past… For an advanced screening, Film Independent Members (and a guest) can look forward to August 9, when the film will be screened at The Landmark in Westwood.

 

 

MEDUSA DELUXE

When You Can Watch: August 11

Where You Can Watch: Theaters

Director: Thomas Hardiman

Cast: Clare Perkins, Anita-Joy Uwajeh, Kayla Meikle, Kae Alexander, Harriet Webb, Darrell D’Silva, Luke Pasqualino

Why We’re Excited: British writer-director Hardiman has found a way to make his whodunit stand out in a sea of shopworn murder mysteries—by setting the dark comedy in a hairdressing competition in England amidst a long list of backstabbing and ambitious hairstylists. When hairdresser Mosca is found dead and scalped on the premises shortly after the competition, stylists Cleve (Perkins), Divine (Meikle), and Kendra (Webb) set out to get to the bottom of the murder before another victim drops. Meanwhile, Mosca’s lover Angel (Pasqualino, best known for his roles in Shadow and Bone and BBC One’s The Musketeers) shows up with a baby in tow. Premiering a year ago at the Locarno Film Festival, the film is co-distributed by Mubi and A24.

First_icon
LGBT_icon
Diversity_icon

 

 

OLDBOY (20th Anniversary)

When You Can Watch: August 16

Where You Can Watch: Theaters (Limited)

Director: Park Chan-wook

Cast: Choi Min-sik, Kang Hye-jung, Yoo Ji-tae

Why We’re Excited: Most famous to English-speaking audiences for The Handmaiden, Decision to Leave and his English-language TV series The Little Drummer Girl, Korean auteur Park Chan-Wook’s neo-noir stylish 2003 revenge thriller is being treated with a theatrical re-release to commemorate its 20th anniversary. The disturbing and gritty feature follows Dae-su (Choi), who is released 15 years after being kidnapped and imprisoned by a mysterious captor. To ensure his daughter’s safety, he sets out to find the true identity of his captor, encountering numerous bloody battles in the process. Unexpectedly, the chase also reveals how he has played a crucial role in his own kidnapping all those years ago. An unforgettable product of the Asian Extreme cinema movement, the film endures as a cult classic.

Diversity_icon

 

 

BOTTOMS

When You Can Watch: August 25

Where You Can Watch: Theaters

Director: Emma Seligman

Cast: Rachel Sennott, Ayo Edebiri, Havana Rose Liu, Dagmara Dominczyk

Why We’re Excited: Three years after her feature debut with the 2022 John Cassavetes Award-winning Shiva Baby, Canadian director Seligman offers us a raunchy female-centric teen sex comedy co-written with lead actor, Senott. High school seniors, PJ (Senott) and Josie (Edebiri, 2023 Spirit Awards winner for Best Supporting Performance for the FX hit The Bear), start a fight club for the sole purpose of losing their virginities to cheerleaders. Under the altruistic guise of teaching their schoolmates the art of self-defense, they soon reel in the most popular girls in school eager to unleash some much-repressed violent tendencies.

SA_icon
LGBT_icon
Diversity_icon

 

 

A MURDER AT THE END OF THE WORLD

When You Can Watch: August 29 [see below]

Where You Can Watch: Hulu

Creators: Zal Batmanglij, Brit Marling

Cast: Emma Corrin, Brit Marling, Clive Owen, Harris Dickinson, Joan, Chen, Raúl Esparza

Why We’re Excited: Spirit Awards nominee and creator of cult Netflix’s sci-fi mystery The OA, Batmanglij and regular collaborator, four-time Spirit Awards nominee Brit Marling (The OA, Sound of My Voice), have teamed up for Hulu’s murder mystery limited series. Amateur sleuth Darby Hart (Corrin, best known for playing Princess Diana in Netflix’s royal drama, The Crown) and eight other guests are at reclusive billionaire Andy’s (Owen) retreat, when one of the guests is found dead. Filmed in New Jersey, Utah, and Iceland, the seven-episode series is slated to drop weekly on FX Networks after the first two episodes premiere on Hulu. **Editor’s note: Originally set to debut this month, the premiere has been pushed to November due to the dueling Actors and Writers Strikes. Updated release TBA.**

SA_icon
Diversity_icon
Females_icon

 

 

*PROGRAMMER’S PICK* PROBLEMISTA

When You Can Watch: August 4 [see below]

Where You Can Watch: Theaters (Limited)

Director: Julio Torres

Cast: Julio Torres, Tilda Swinton, RZA, Isabella Rossellini, Catalina Saavedra

Why We’re Excited: From Film Independent Senior Programmer Jenn Wilson: “Actor/writer/director/comedian Julio Torres (SNL, Los Espookys) has delivered a fantastic and extremely creative first feature film with Problemista. Torres plays a young immigrant to New York City from El Salvador named Alejandro, whose dream is to be a toy designer. But he struggles to find a job that will sponsor his visa. He strikes up a relationship with a chaotic art curator named Elizabeth (Tilda Swinton), who is desperately trying to mount a retrospective art show of her deceased husband Bobby’s (RZA) work. Anybody who has ever wanted to work in the arts and has had to deal with the endless woes of the dreaded day job slog will find Alejandro’s struggle intensely amusing and completely relatable, but his problems are compounded by the impossible process of trying to immigrate to the U.S. Alejandro and Elizabeth’s relationship is fraught with drama, but the two have a genuine admiration for one another that’s truly heart-warming. Torres heads up a great supporting cast including a wonderful Isabella Rossellini as the film’s narrator. Clearly influenced by the dream logic and magical realism in the work of Michel Gondry and Charlie Kaufman, Torres also shows he has developed a creative voice of his own that is very exciting.” **Editor’s note: Originally set to debut this month, the premiere has been pushed to November due to the dueling Actors and Writers Strikes. Updated release TBA.**

First_icon
LGBT_icon
Diversity_icon

 

 

KEY

FI_Social_Facebook_ProfileImage

Film Independent Fellow or Member

Film Independent Presents Screening, Q&A

Microbudget_icon

Microbudget

Diversity_icon

Filmmaker or Lead Characters of Color

SA_icon

Film Independent Spirit Award Winner or Nominee

Females_icon

Female Filmmaker

LGBT_icon

LGBT Filmmaker or Lead LGBT Characters

First_icon

First-time Filmmaker

(Header: Bottoms)

 

Source link

Guardians of the Galaxy Vol.3 was released on digital and Blu-ray earlier this month, and included amongst the bonus features was a full-length commentary track from writer/director James Gunn. A common component of a movie’s physical media home release, the director’s commentary is a fun opportunity for fans to gain insight into their favorite films, and for the creators to reflect on the projects they likely spent years of their lives crafting. Gunn’s commentary track for his Marvel Cinematic Universe (MCU) swan song is no different, so read on to learn about some of our favorite new details from Gunn about Guardians of the Galaxy Vol.3.

1. This was new for him.

One of the earliest details Gunn discloses on the commentary track is that this was his first time doing a commentary before the movie had been released. At the time of recording, Gunn had no idea how positively his final Marvel film would go on to be received.

2. It was easy to edit.

He acknowledged that Guardians Vol.3 was the easiest film he’d ever edited, but then added that maybe this was because he’d already spent an entire year writing the script.

3. He got engaged during the shooting of the movie.

Gunn’s wife, Jennifer Holland, has a small role in the film as an OrgoCorp employee, and during her first onscreen appearance, Gunn confessed that while he doesn’t procrastinate in his professional life, he is guilty of doing so in his personal life. He then launched into an amusing tangent about the time Chris Pratt told him that he was planning to propose to his now-wife Katherine Schwarzenegger, and Gunn said he was thinking of doing the same with Holland…and then five years passed. In that time, Pratt proposed, got married, and had two kids, and Gunn still hadn’t proposed to Holland, so it was Pratt “giving him crap” that finally spurred him on to get engaged in February of 2022, while Guardians of the Galaxy Vol.3 was in the midst of production.

4. Blurp was going to be a cat.

The adorable Ravager pet that Will Poulter’s Adam Warlock adopts out of guilt after incinerating its owner was originally intended to be a feline friend. Gunn ultimately opted to change the creature to a furry F’saki (look it up!) because he felt a cat would be too repetitive, given that Captain Marvel’s pet Flerken, Goose (an alien species resembling a domestic cat) will be making her triumphant reappearance in The Marvels, which is set for release in November of this year.

5. Very little was left on the cutting room floor.

In keeping with his earlier comment about the ease of the editing process, Gunn noted that he and his editors only ended up cutting maybe half an hour of footage from the movie, and with that, rarely entire scenes.

6. The movie set a new World Record.

Thanks to his collaboration with Legacy Effects, Gunn’s film beat the World Record for the most makeup appliances created for a single production, previously held by Jim Carrey’s 2000 classic, How the Grinch Stole Christmas.

7. He couldn’t wait to see the final fight scene with an audience.

The affectionately dubbed “hallway fight,” in which every Guardian gets a stand-out moment in an epic group fight sequence that’s shot to look like one continuous take (although it wasn’t a one-shot, as Gunn pointed out in his commentary), and scored by The Beastie Boys’ “No Sleep Till Brooklyn,” was cited by Gunn as the sequence he was most looking forward to finally getting to experience with an audience at the world premiere.

8. The last group shot filmed wasn’t the final team meeting.

The last time all the Guardians filmed together was the scene of them running down the hallway after having bested the group of Hell Spawn in the aforementioned “No Sleep Till Brooklyn” fight, not the extremely emotional goodbye they share towards the end of the movie as the team prepares to part ways.

9. Even Michelangelo got some Easter eggs.

Gunn is known for his Easter eggs, and some fans may have already picked up on his direct visual nod to the Italian artist’s most famous work, “The Creation of Adam,” during the moment where Adam rescues Chris Pratt’s Peter Quill from being stranded in space, but there’s a second homage to the work of Michelangelo in the film. In her first scene in the movie, Elizabeth Debicki’s High Priestess Ayesha appears before Chukwudi Iwuji’s High Evolutionary with her wounded son, the aforementioned Adam, draped across her lap in a pose reminiscent of Michelangelo’s Vatican City sculpture “La Madonna della Pietà.”

10. Fans weren’t the only ones crying.

As the credits rolled, Gunn revealed that he’d gotten emotional three separate times while recording this commentary track, and then challenged fans listening to see if they could detect at which moments he’d teared up.

Guardians of the Galaxy Vol.3 can be purchased on digital or Blu-ray and is also available for streaming on Disney+.

Source link

Guardians of the Galaxy Vol.3 was

The Writers Guild of America met again with representatives of the major studios on Thursday, as negotiators continued to search for a path toward resolving the 108-day writers strike.

The CEOs of the major studios — including Ted Sarandos of Netflix and David Zaslav of Warner Bros. Discovery — are also expected to hold a joint call on Friday to discuss the next move in the talks. Donna Langley of NBCUniversal and Dana Walden and Alan Bergman of Disney are also expected to participate.

A resolution has remained elusive, after the WGA delivered its response to the latest proposal from the Alliance of Motion Picture and Television Producers on Tuesday. The two sides remain far apart on several items, including a staffing minimum in TV and a viewership-based streaming residual.

Several sources on the studio side professed shock and frustration at the guild’s response. They also said they are reluctant to “negotiate with ourselves” to get a deal.

But one avenue of potential progress is to seek agreement in limited areas where the two sides are closer together, and hope that creates momentum to make deals on harder issues.

The CEOs have taken a personal interest in getting a deal, as they also face business challenges on several other fronts this fall. The top executives have also faced criticism over their pay packages and scrutiny of their public remarks about the strike.

The CEOs were involved in making the offer to the WGA last Friday that included provisions on TV staff size and transparency on the performance of streaming shows. The sources expressed a view that the offer was generous, and they hoped it could lead to a breakthrough in the negotiations. The WGA counter gave ground on numbers, but not on the basic structure of its proposals.

WGA leaders have cautioned members to disregard studio leaks, but otherwise have not given a formal update on talks since last Friday.

The negotiations have been led by the AMPTP, the entity that bargains on behalf of the major studios and more than 200 other companies. But the ultimate decisions on how to proceed rests with the top CEOs.

The WGA issued a report on Thursday castigating Netflix, Amazon and Disney for abusing their position of dominance in the industry to lower writers’ pay. The guild also called on antitrust regulators to block further consolidation among entertainment companies.

Jennifer Maas contributed to this story.

Source link

The Writers Guild of America met again

 

Great news! “Kongsuni and Friends” is available to watch on Netflix UK!

 

Date Added: 17th August 2023

Known expiry dates are shown above as well as on the Last Chance page.

Want to keep forever? Try looking for ‘Kongsuni and Friends’ on Amazon (paid link)

History:

   10/08/2020: 1 Season (2017)

   29/10/2020: 2 Seasons (2020)

   10/08/2023: Removed from Netflix

   17/08/2023: Streaming Again – 2 Seasons (2020)

 

 

Description:

A bright-eyed girl and her magical owl sidekick find adventure when enchanting powers and creative ideas lead to important lessons.

 

Certificate: Suitable for all ages

Year: 2020

Duration: 2 Seasons

Available Seasons: Season 1 (13 Ep), Season 2 (25 Ep)

Audio: English

Subtitles: English

Episode Length: 18min

 

Cast and Crew

Cast: Hong So-young, Choi Bo-bae, Kim Eun-ah, Jeong Hye-won, Bae Jin-hong, Um Sang-hyun, Cha Moo-jin, Jang Min-young, Jang Do-young, Kim Sook-young, Park Ran, Kim Chang-won, Park Yeon-kyung

 

RATINGS:

IMDB

Average Rating

LISTS:

Trakt.tv

 

DISCUSS ON…:


FacebookFacebookMastodonMastodon

 

Login or register to get email updates…

 

This title is available on Netflix UK

Where else can you watch ‘Kongsuni and Friends’ on Netflix?

 


Want to keep forever? Why not rent or buy ‘Kongsuni and Friends’ from one of the online services below?


Powered by
JustWatch

Source link

After selling out its reunion “Soy Rebelde Tour,” Latin pop group RBD has dropped a new single titled “Cerquita De Ti.”

The track, a blend of pop and Dominican dembow, is the first taste of original music from the band since 2020’s “S.H.E.A.,” which was updated in February to include vocals from Dulce María. It’s just the second taste of original music since the band — which also comprises telenovela actors and singers Anahí, Christian Chávez, Christopher von Uckermann and Maite Perroni — went on its official hiatus in 2009.

“Cerquita De Ti” boasts RBD’s signature harmonies and elements of modern-day Latin pop. It was produced by Manuel Lara, who has also worked on tracks for Kali Uchis, Bad Bunny and Rauw Alejandro, and was written by Lara, RBD’s Chávez, Pambo, Nicole Horts and Ben Aler.

“Time has passed, but I love you all the same / The love I feel just keeps growing and doesn’t leave,” the group sings in the group sings in the track’s chorus. “Even though we’re far apart and you’re upset, know I’ll always be close to you.”

Before the band announced a reunion earlier this year, breaking the internet with the news of its impending tour across the U.S. and Latin America, RBD had briefly reunited sans Dulce María, who was pregnant at the time, and Alfonso “Poncho” Herrera — who has decided not to rejoin the band at this time.

RBD is set to kick off the U.S. leg of its tour in El Paso, Texas on Aug. 25 and is making numerous stops in cities such as Miami, Las Vegas, Chicago, Los Angeles and New York City. The group will also have a stint in Latin America, performing shows in Mexico, Brazil and Colombia. This song’s release also comes as the band announced an additional date in Mexico’s Estadio Azteca on Dec. 21, which marks the end of its 2023 tour.

Source link

After selling out its reunion “Soy Rebelde

“It is with our deepest sadness we have to announce that we have lost our miracle baby early in the pregnancy,” the couple say in a statement. “This is a devastating time for any parent. Perhaps we should have waited to announce until we were further along, however, we were overly excited to share the good news. Our love for each other is our strength. We will continue trying to expand our beautiful family. We are grateful for all of your support. We kindly ask for privacy during this difficult moment.”

In a subsequent interview Asghari open up about the loss but underscores that he and Spears are still trying for a child: “One beautiful thing that I heard was when the baby’s ready, it’ll come.”

June 9, 2022: It’s wedding day! The couple are married in an intimate ceremony at Spears’s LA home with more than 60 guests in attendance, including A-listers like Selena Gomez, Madonna, Paris Hilton, Drew Barrymore, and Donatella Versace, the latter of whom designs all four of Spears’s wedding dresses. 

Despite an unsuccessful attempt by Spears’s first husband, Jason Alexander, to crash the wedding, the couple appear unfazed and in love. 

July 28, 2023: Nearly two months after their one-year anniversary, Spears and Asghari separate, according to his divorce filing. 

August 16, 2023: TMZ reports that Spears and Asghari have officially split. People later confirms the breakup, attributing the news to multiple sources close to the couple. At this point representatives for both parties have not returned requests for comment.

Per TMZ, the pair had a “blowout” fight after Asghari confronted Spears about her alleged infidelity. (Rumors that she was unfaithful have not been verified.) He has since moved out of their home, according to the outlet.

Hours after news of their split hit the internet, Spears posts a photo of herself on Instagram, apparently taken during a previous vacation with her now ex-husband. 

Instagram content

This content can also be viewed on the site it originates from.

Source link

“It is with our deepest sadness we

Film Independent is currently in the middle of a Matching Campaign to raise support for the next 30 years of filmmaker support. All donations make before or on September 15 will be doubled—dollar-for-dollar up to $100,000. To kick off the campaign, we’re re-posting a few of our most popular blogs. The below piece originally ran in 2019. Thanks to author Meri Hilalian.

No matter who you are, as a filmmaker it’s imperative to approach any scenes of sex and nudity in your film proactively and professionally. It’s simple: establish boundaries and be both rigorous and consistent in your application of on-set rules. This will be your most important safeguard against sexual harassment and assault. Keeping your cast and crew safe means addressing concerns and thus pushing positive—and urgent—social change within the film industry.

Not sure where to start? Ask the experts—like Hollywood Intimacy Coordinator (and former sex and relationship coach) Amanda Blumenthal, who joined Film Independent August 13 to unpack the how-to’s of staging and shooting intimate scenes—from kissing to sex, nudity and beyond.

For intimacy coordinators, building a safe and comfortable set requires liaising with directors and actors to ensure that everyone is on the same page, while attempting to remain as true to the director’s vision as possible. She also helped shed some light on SAG-AFTRA nudity guidelines, offering plenty of tips about how to make sets safer and protect your actors’ wellbeing.

 

INTERRUPTING POWER DYNAMICS

But before we go any deeper, just what is the role of an “intimacy coordinator,” exactly?

Blumenthal explains that, due to the nature of performing a newly created job, defining the exact parameters of the position has been a work in progress. In a nutshell—in Blumenthal’s words—“an intimacy coordinator is there to make sure that actors are safe on set during nudity and simulated sex scenes.” How this role came to be? HBO paved the way. After the first season of The Deuce, Blumenthal says, so many of the actors had less-than-pleasant experiences with nudity and simulated sex that they expressed concern and requested an on-set advocate. The network took initiative, creating the role of intimacy coordinator.

What are some important aspects of the job? Blumenthal explained: “We act as a liaison between actors and production,” adding, “the reason why this is important is because it helps interrupt the power dynamic that occurs between actors and producers, or actors and directors.” Anyone who’s observed a film set knows it’s really difficult to say no—as an actor, especially—to people (often the director) who could potentially fire and replace you at a moment’s notice.

One of the great things about having an intimacy coordinator, according to Blumenthal, is that “I’m more than happy to hear you [the actor asked to perform in an intimate scene] say ‘no’ to me. That’s why I’m here, so that you get to have your boundaries.” Sometimes it’s a matter of simple communication. If a director feels uncomfortable or ill equipped to discuss intimacy with an actor, Blumenthal steps in to make sure that the lines of communication are open—softening conversations and forcefully expressing an actor’s boundaries to the filmmaker.

 

A-B-C, ALWAYS BE COMMUNICATING

For directors, learning how to tell your story while respecting your actors’ boundaries is a crucial skill. Scenes with sexual content are similar to stunt sequences, says Blumenthal. “What happens when you have nudity and stunts is that actors get burnt out really fast.” She added, “There have been situations where I’ve had to go to the director and say, ‘You have two takes left with your actors and then we have to be out of this, because this is a safety concern.’”

Facilitating clear communication and consent between actors is also important. According to Blumenthal, the conversation should sound like this: “Where do I want you to touch me, and where do I not want you to touch me?” She spoke to the importance of normalizing these conversations on set “especially if they [the actors] are going to be doing multiple scenes together,” she said. The onus is then on the intimacy coordinator to get these conversations going—and agreed upon.

An intimacy coordinator must also adhere to proper protocols, such as enforcing a true closed set. Blumenthal added, “Make sure that actors are wearing the right type of modesty garments.” Finally, she added, “We [intimacy coordinators] act as choreographers and movement coaches … Sometimes you’ll have actors doing simulated sex, and the thrusting doesn’t look believable—it’s not reading properly onscreen.” So the intimacy coordinator would intervene, ensuring the movement is translating correctly to the camera while preserving boundaries.

 

GUILD GUIDELINES

Under SAG-AFTRA, a concrete definition of nudity has yet to be firmly established. However, Blumenthal’s favorite definition comes from Showtime, as each studio has its own statement of what constitutes nudity. Blumenthal says the cable outlet defines it as, “The display of any body part which would be revealed if the actor were not wearing a bathing suit.” So if anything that’d typically be underneath a bathing suit is displayed onscreen, you’ll need a nudity rider.

“There are several types of nudity,” says Blumenthal, “and this comes into play when you’re dealing with nudity riders.” She advises that if there’s any hand-to-genital or genital-to-genital contact, that would require a rider. And you have to specify exactly what type of nudity the actors will be acting out. If it’s a straightforward sex scene, you would just indicate “simulated sex” in the nudity rider—which covers for “all types” of sex acts, she noted.

Blumenthal also explained that riders break down into above the waist nudity and below the waist nudity. Are you filming from the side? The front? The rear? “The nice thing about having these different gradations is that it gives actors options for how much they can show—and sometimes you can find a compromise,” Blumenthal said. “Say a director wants complete topless nudity and an actress isn’t comfortable showing her full breasts, but [is] willing to do side-breast nudity,” she said—there’s a mutual agreement, with the actress feeling comfortable without the director’s vision being compromised.

Dealing with intimate scenes and the private conversations that must be had to facilitate these moments isn’t always a comfortable experience. Relying on an Intimacy Coordinator to communicate consent and people’s boundaries is the key to having safe and positive on-set experiences. So take the plunge. Spend a little extra money and hire an intimacy coordinator.

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.

More Film Independent…

Source link

Lizzo’s “Big Grrl” and “Big Boiii” dancers have written an open letter in support of the singer who is facing a lawsuit from three of her former dancers.

The statement, which thanked Lizzo for “[creating] a platform where we have been able to parallel our Passion with a purpose,” was posted to the Big Grrl’s official social media account on Thursday afternoon.

“We had the time of our lives on The Special Tour. We have been so honored to share the stage with such amazing talent,” the letter stated. “The commitment to character and culture taking precedence over every movement and moment has been one of the Greatest lessons and Blessings that we could possibly could ask for.”

The letter comes just as Lizzo’s Special Tour is set to wrap on July 30, after having first launched last September with a string of arena dates across the U.S. The letter praises Lizzo for “shattering limitations and kicking in the door way for the Big Grrrl & Big Boiii Dancers to do what we love… Not only for Us, but for Woman and All people breaking barriers,” the letter continued.

A few weeks ago, news of the lawsuit broke with grim details accusing the Grammy award winner of sexual harassment and creating a hostile work environment. The accusations come from three dancers — plaintiffs Arianna Davis, Crystal Williams and Noelle Rodriguez — who all participated in Lizzo’s Amazon reality show “Watch Out for the Big Grrrls,” a competition show that gave dancers the opportunity to join Lizzo on tour.

They’ve alleged sexual, religious and racial harassment, disability discrimination, assault and false imprisonment, among a slew of other charges.

“Plaintiffs were aghast with how little regard Lizzo showed for the bodily autonomy of her employees and those around her, especially in the presence of many people whom she employed,” the complaint reads.

Days after the lawsuit was made public, Lizzo addressed the allegations in an open letter of her own: “These last few days have been gut-wrenchingly difficult and overwhelmingly disappointing. My work ethic, morals and respectfulness have been questioned. My character has been criticized… Usually I choose not to respond to false allegations but these are as unbelievable as they sound and too outrageous to not be addressed. These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional.”

Things seemingly worsened for Lizzo when Oscar-nominated filmmaker Sophia Nahli Allison said she worked with Lizzo several years ago, and alleged that she was “treated with such disrespect” by Lizzo. “My spirit said to run as fast as you fucking can and I’m so grateful I trusted by gut. I felt gaslit and was deeply hurt but I’ve healed.”

Since then, artists including Grimes have been vocal about their support for Lizzo; the most recent being Beyoncé, who exclaimed “I love you, Lizzo!” during her performance of “Break My Soul (The Queens Remix)” in  Foxborough, Mass.

Source link

Lizzo’s “Big Grrl” and “Big Boiii” dancers

Jan de Bont, the director of 1996’s Twister, is giving his thoughts on Universal Pictures and Amblin Entertainment’s upcoming sequel.

In an interview with Inverse, published online Tuesday, the Speed filmmaker said he wasn’t consulted about the new movie and that he feels it will be completely different from his version, especially since visual effects technology has changed so much since.

“When things fell from the sky, there were real things falling from a helicopter,” de Bont said. “If you film a car escaping a tornado in a hail storm, it was real ice that came at us. It’s a movie that cannot be remade … That would never, ever happen again.”

He added that every shot they got “was a fortune” because “it would take three days to transfer all that information onto film. Right now it’s fast, but in the beginning, it was super slow. And we had to be so careful to get the shots done before the movie opened.”

The original Twister, which starred Helen Hunt and Bill Paxton, followed a storm-chasing couple who reunited to track the massive storm. The follow-up, directed by Lee Isaac Chung, is described as a “new chapter” in the story with all new characters and is said to take place after the events of the first film. The sequel is set to star Daisy Edgar-Jones, Glen Powell and Anthony Ramos.

Though de Bont has the utmost respect for Chung and even enjoyed his 2020 drama Minari, he admitted that he hasn’t decided if he’ll see the sequel. He added, “I want to have somebody else see it first.”

The director also had some skepticism about the recent trend he has seen of indie filmmakers jumping quickly to take on studio projects.

“Don’t forget that the main reason they’re finding younger, inexperienced people is they want to be able to fully control them,” de Bont said. “They want them to have really good ADs, writers, producers, cinematographers so that they have all the help they can get. But ultimately, the studio is going to tell them what’s in the movie. I know that firsthand.”

Chung’s Twister is slated to hit theaters on July 19, 2024.

Source link

Jan de Bont, the director of 1996’s

Four-time, Oscar-winning costume designer and longtime Tim Burton collaborator, Colleen Atwood peeled back the layers behind her grim, ghastly and (often) girly designs on the Netflix series “Wednesday.” And where did this Hollywood icon find one of Wednesday Addams looks? At a Zara… in Romania.

Atwood sat down for Variety‘s “Artisans” series, presented by HBO, to discuss her Emmy-nominated designs on the latest Burton series, which she worked on alongside co-designer Mark Sutherland.

The costume designer was tasked with bringing the world of the beloved Addams family into the modern era, while keeping it centered amongst the cobwebs and spooky hues fans adore. “I won’t say I redid Wednesday but I feel like I took Wednesday into today’s world, into a world that was applicable to a large audience,” Atwood said.

After reading the script, Atwood began with the titular star (Jenna Ortega) and her roommate Enid (Emma Myers), who are depicted as polar opposites — one is decidedly goth and the other loves color.

“I started with the two girls…We didn’t want to have Enid just look silly because she was in pastels. We knew that Wednesday was in black and white, but we also didn’t want her to become a caricature in black and white,” she explained.

While the characters on the show are required to wear the striped uniform of their boarding school Nevermore, Atwood wanted the students’ individuality to come through in how they styled the mandatory outfit.

“When you look at kids outside of schools that are heavy-duty uniform schools, you see everybody interpret a uniform in a different way, and I think that that interpretation per character is what makes it stand alone as a uniform in a story,” Atwood said.

For Wednesday’s uniform, which is black and gray stripes as opposed to the typical purple and black stripes everyone else wears, Atwood began with her shirt; she had a vintage 1960s shirt with a Peter Pan collar that worked for Wednesday.

“A lot of uniform shirts have Peter Pan collars but this was a Peter Pan with some panache,” she said.

Working with stripes requires hard work to ensure that they’re captured on camera in the right way.

“The fabric’s actually hand painted, hand silk screened, because I couldn’t find a fabric that had the right gradation on camera of the black and gray that I wanted so you don’t have that strobe-y effect of stripes,” she explained. A trick she also implemented on the set of Burton’s 1999 horror classic, “Sleepy Hollow.”

Known for packing each pleat with a punch, Atwood folded a grey pattern between each little pleat on Wednesday’s uniform, so the other color is noticeable when the characters move. It was a painstaking effort to accomplish that meticulous design.

“I think the idea of the longer skirt, the sort of Victorian black stockings, the heavy shoes, which give her a real edge and weight to her character and help her with her movement are the things that make it especially Wednesday,” she said.

For Morticia, Atwood got on a call with Catherine Zeta-Jones to discuss what her iconic dress would look like.

“I made her dress in three different materials for the first fitting. I made it in leather in the beginning which looked really amazing. It felt too costumey, so we ended up with the jersey cause it draped, it was sort of ethereal.”

Of course, Morticia’s dress is also black. How did she manage working with a limited color palette on the show? “When you use black and white you’re limited, but if you’re going to be limited it’s a great world to be limited in. You can juxtaposition the two colors in different ways graphically that can make things look very different,” she said. What’s next for this timeless dress? Will Morticia surprise us all with a bold new fit in the future? Atwood keeps the details tight but teases that there will be changes, “In season 2 she’ll have a lot of looks, so it will be really fun to see what Morticia does when she’s out of the dress and into around-the-house looks.”

Source link

Four-time, Oscar-winning costume designer and longtime Tim

The Writers Guild and the AMPTP met Thursday for a third time this week in an attempt to hammer out a deal to end the ongoing writers’ strike. It remains uncertain whether they’ll meet again Friday, but Deadline has confirmed that the studios’ CEOs are planning to meet Friday to discuss where things now stand.

Deadline understands the CEO meetings on the studio side have been semi-regular occurrences.

The WGA and Alliance of Motion Picture and Television Producers restarted bargaining last Friday for the first time since the strike began May 2 and recessed until Tuesday after the companies made a counterproposal to guild’s proposals. Tuesday’s meeting reportedly ended with “mixed results,” and since then, they’ve been going back and forth to see if they can come to a tentative agreement.

The chief strike issues include pay raises, viewership-based streaming residuals, the “preservation of the writers’ room” through minimum staffing and guaranteed days of employment, and guardrails against the use of artificial intelligence to write scripts.

More from this Story Arc

Writers Guild Strike

Source link

The Writers Guild and the AMPTP met

The King James Bible is loaded with memorable analogies, and one of the most vivid is from Proverbs: “As a dog returneth to its vomit, so a fool returneth to his folly.” It’s true — a dog will do that. A dog might also sample the vomit of another dog, as is depicted in one of the many intestinal, fecal and urinal gags served up in the relentlessly raunchy comedy “Strays.”

Directed by Josh Greenbaum from a script by Dan Perrault, “Strays” tells the story of Reggie (voiced by Will Ferrell), a winsome mutt who is abandoned by his owner, the miserable, porn-addict stoner Doug (Will Forte).

Alone in an alley, Reggie gets the come-on from some sexy Afghan hounds. How does prostitution work in unsupervised dog society? It is never explained, just as it’s never explained why the animals speak to each other in English while not understanding the English spoken by the humans. The movie uses a mix of live action and computer animation, but world-building was not quite a priority here.

Once Reggie meets the street-smart Boston terrier Bug (Jamie Foxx) and realizes the extent to which Doug hated him, he resolves to find the man and bite off one of his most beloved extremities. In this quest, the new friends are joined by two domesticated dogs: Hunter (Randall Park), a timid Great Dane, and Maggie (Isla Fisher), an elegant but earthy Australian Shepherd.

Over the next 90-plus minutes, the canines drop as many F-bombs as Pacino did in “Scarface.” Then there are the scatological jokes, each one more outlandish than the last, none bearing the slightest tinge of wit or joy. (The thing about John Waters’s extreme underground comedies is that they had, you know, enthusiasm.) Granted, a scene here that takes aim at the convention of the “narrator dog” does produce a curdled laugh, but it does so on its way to a truly nihilistic punchline.

And yet as that proverb warns, one unfortunately can’t rule out a sequel.

Strays
Rated R for relentless language, crude humor and gore. Running time: 1 hour 33 minutes. In theaters.

Source link

The King James Bible is loaded with

Olivér Rudolf’s “My Mother, the Monster” has won the Eurimages Co-Production Development Award at Sarajevo Film Festival’s CineLink, its industry section that featured projects from Southeast Europe, the Middle East and North Africa.

The Hungarian feature film project, which is produced by Genovéva Petrovits at Kino Alfa, received a cash prize of €20,000 ($21,727).

The film focuses on Éva, a mother in her forties who is disappointed with her life and tired of feeling insignificant. She finds a new identity behind a scary monster mask which liberates her.

The Post Republic Award, in the CineLink Work in Progress section, went to “One of Those Days Where Hemme Dies,” directed by Murat Fıratoğlu. The project, which is produced by Nefes Polat at Turkey’s Nefes Films, receives post-production services worth €30,000.

The film shows one day in the life of Eyüp, a poor guy in the city, working hard drying and salting tomatoes under the summer sun. He gets frustrated about not being given his daily wage and decides to kill Hemme, but the two men end up at a wedding together.

The CineLink Impact Award went to Ensar Altay’s “Kanto,” produced by Suleyman Civliz at Turkey’s Fikirdöküm. It receives production services worth €20,000. It is a story about an older woman who disappears on a snowy evening. Her friends, the police, and even her family think she has just run away and wants to be alone, so they stop looking for her, except for one person.

The Female Voices Cinelink Award and €10,000 went to drama series “Connections,” created by Tea Korolija, Maja Todorović and Srđan Šaper, and produced by Serbia’s Adrenalin. It is an anthology series that explores various aspects of romantic relationships, delving deep into the characters’ psychology and examining how society and the environment influence them.

The Croatian Audiovisual Center Drama Award, with a €15,000 cash prize, was won by North Macedonian TV series “Adventures of a Turbo Folk Princess.” The creators are Andrey Volkashin and Peter Vulchev, and the production company is Oxo Production. After accidentally poisoning her gangster fiancé, clumsy sweetheart Vaska runs away with his money to fulfil her dream of becoming a pop star, mentored by the short-tempered prostitute Eboni.

CINELINK CO-PRODUCTION MARKET

EURIMAGES CO-PRODUCTION DEVELOPMENT AWARD – €20,000
Jury: Eleni Chandrinou, Greek National Representative Eurimages; Labina Mitevska, Sisters&Brother Mitevski; Oliver Neumann, Freibeuterfilm Gmbh
Winner: “My Mother, the Monster”
Director: Olivér Rudolf
Production Company: Kino Alfa
Country: Hungary

FILM CENTER MONTENEGRO AND FILM CENTER SERBIA CINELINK AWARD
Jury: Ivan Karl, Film Center Serbia; Sanja Jovanović, Film Center Montenegro; Behrooz Hashemian, Silkroad Production; Čedomir Kolar, A.S.A.P. Films

Film Center Montenegro Cinelink Award – €10,000
Winner: “A Long Embrace”
Director: Gabriel Tzafka
Production company: Wild at Heart
Country: Greece

Film Center Serbia Cinelink Award – € 10,000
Winner: “Primavera”
Director: Dušan Kasalica
Production company: Meander Film
Country: Montenegro

ARTEKINO INTERNATIONAL PRIZE – €6,000
Jury: Mathilde Hersant, Arte France Cinéma
Winner: “Antonivka”
Director: Kateryna Gornostai
Production company: Moon Man
Country: Ukraine

CINELINK CO-PRODUCTION MARKET & CINELINK DRAMA
FEMALE VOICES CINELINK AWARD, FILM CENTER SLOVENIA – €10,000
Jury: Nataša Bučar, Film Center Slovenia; Anamaria Antoci, Tangaj Productions; Tamara Tatishvili, Focal Medici
Winner: “Connections”
Creators: Tea Korolija, Maja Todorović, Srđan Šaper
Production companies: Adrenalin
Country: Serbia

CINELINK DRAMA
Jury: Srđan Vuletić, director; Cia Edström, Göteborg Film Festival; Danna Stern, In Transit Productions

Croatian Audiovisual Center Drama Award – €15,000
Winner: “Adventures of a Turbo Folk Princess”
Creators: Andrey Volkashin, Peter Vulchev
Production Company: Oxo Production
Countries: North Macedonia and Bulgaria

TV Drama Vision Pitch Award – €2,000
Winner: “Amazons of Istanbul”
Creators: Nisan Dağ, Müge Özen
Production company: Solis Film
Country: Turkey

CINELINK WORK IN PROGRESS
Jury: Sébastien Chesneau, Cercamon; Petra Gobel, Post Republic; Esra Demirkiran, Turkish National Radio Television; Jim Kolmar, South By Southwest Film Festival; Jean-Marc Zekri, Quinzaines Des Cinéastes

Turkish National Radio Television Award – €25,000
Winner: “As If You Were Never Here”
Director: Eti Tsicko
Production companies: Lama Films, Intrigó Internazionale and 20 Steps
Countries: Israel, Italy and Georgia

Post Republic Award – In Kind Post-Production Services Worth €30,000
Winner: “One of Those Days Where Hemme Dies”
Director: Murat Fıratoğlu
Production company: Nefes Films
Country: Turkey

CINELINK IMPACT AWARD
Jury: Faridah Gbadamosi, Tribeca Enterprises; Amy Shepherd, Think-Film Impact Production; Rory Thost, Participant
Think-Film Impact Production – €20,000 In Kind
Winner: “Kanto”
Director: Ensar Altay
Production company: Fikirdöküm
Country: Turkey

DOCU ROUGH CUT BOUTIQUE
Jury: Tereza Keilova, HBO Europe; Eugen Kelemen, Avanpost; Catherine Leclef, Cat&Docs; Marcel Maiga, Dok Leipzig; Lejla Dedić, Al Jazeera Balkans; Sofia Tocar, Institute of Documentary Film

Avanpost Award – In Kind Post-Production Services Worth €20,000
Winner: “Adelina: Symphony of Longing and Estrangement”
Director: Rati Tsiteladze
Production company: Artway Film
Country: Georgia

Cat&Docs Award – €2,000
Winner: “Your Life Without Me”
Director: Anna Rubi
Production company: Somnus Film
Countries: Hungary, Sweden

HBO Max Award – €2,000
Winner: “Adelina: Symphony of Longing and Estrangement”
Director: Rati Tsiteladze
Production company: Artway Film
Country: Georgia

Al Jazeera Balkans Documentary Film Festival/Ajb Doc Award – €2,000
Winner: “Pavilion 6”
Director: Goran Dević
Production company: 15th Art Productions
Country: Croatia

East Silver Caravan Award – In Kind Distribution Service Worth €3,500
Winner: “Your Life Without Me”
Director: Anna Rubi
Production company: Somnus Film
Countries: Hungary, Sweden

Dok Leipzig Preview Award – Invitation to Present a Project at Dok Leipzig 2023
Winner: “Pavilion 6”
Director: Goran Dević
Production company: 15th Art Productions
Country: Croatia

Source link

Olivér Rudolf’s “My Mother, the Monster” has

Of all the films that Disney released this year, there was no bigger success than Guardians of the Galaxy Vol 3.

The film manged to gross $854.4 million globally and send the Guardians off on a high note.

Guardians of the Galaxy Vol. 3

Photo: Marvel

The success story for Guardians Vol 3. continued on streaming, where the film beat out The Super Mario Bros. Movie to become the most-watched movie on any streaming service.

Although Guardians of the Galaxy Vol. 3 continues to be a fan-favorite, the film’s DIsney+ was not without minor controversy.

Guardians of the Galaxy Christmas

Photo: Marvel

Disney+ Botched The ‘Guardians Vol 3.’ Preview

When Guardians 3 hit Disney+, the film was released in IMAX ratio, despite Gunn admitting that he preferred to watch the film at home in its traditional widescreen format.

On Threads, a fan recently pointed out that the preview for Guardians of the Galaxy Vol 3.’s IMAX ratio didn’t accurately show what the film looks like in that format.

The user stated that the preview is “just a cropped version of the widescreen shot”.

Gunn agreed with the user’s assessment replying:

James gunn

Photo: yahoo.com

“Yeah the IMAX version isn’t cropped. It’s all new stuff top and bottom.”

Stephane Ceretti Chimes In

Marvel Studios VFX supervisor Stephane Ceretti also chimed in on X (formally known as Twitter) blasting Disney+ for their mistake with the thumbnails.

Stephane Ceretti

Photo: IMDB

“The thumbnails are wrong. I don’t know what D+ is doing but they should not give the thumbnail work to a photoshop challenged graphist. Truth is you get more in IMAX top and bottom. but it’s true that James designed the movie to be an hybrid format very specifically.”

All’s Well That Ends Well

Following the public criticism of Gunn and Cerettii, Disney fixed the thumbnails.

Dave Bautista, Guardians of the Galaxy

THE WONDERFUL WORLD OF DISNEY – “The Wonderful World of Disney” makes an epic return with the network broadcast premiere of Marvel Studios’ “Guardians of the Galaxy,” WEDNESDAY, SEPT. 23 (8:00-10:30 p.m. EDT), on ABC. (MARVEL STUDIOS)
CHRIS PRATT, DAVE BAUTISTA, ZOE SALDANA

While all’s well that ends well, it is interesting to see how seriously the creative people at Marvel sweat even the little things.

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

Source link

Of all the

The world of The Wheel of Time comes with its own kind of magic—magic known as the One Power. It’s not referred to as “magic” in-universe, but that’s definitely what it’s like. Really, it’s kind of like the Force in Star Wars. And many women, but not all, who channel the One Power are Aes Sedai. Like Jedi, the phrase “Aes Sedai” can mean both the individual and the organization as a whole. Aes Sedai play an important role in Robert Jordan’s fantasy novels and Prime Video’s television adaptation. They have their hands in much of the world’s happenings and play a big part in the Dragon Reborn’s story.

If you’d like to learn more about The Wheel of Time’s Aes Sedai without spoilers from the books, you’re in the right place.

Who Are The Wheel of Time‘s Aes Sedai?

Prime Video

Put simply, the Aes Sedai are a group of women (during the events of the book and series) who wield the One Power. Many across the world of The Wheel of Time distrust them. In the Old Tongue, Aes Sedai means “servants of all.”

What Is the One Power?

White threads of the One Power circling around Moiraine in The Wheel of Time
Prime Video

Aes Sedai channel the One Power, which they pull from the True Source. The True Source has a female half and a male half, saidar and saidin respectively. During The Wheel of Time‘s events, saidin is tainted. If a man capable of channeling saidin tries to do so (like the Dragon Reborn, for example), he will eventually lose his mind and probably cause a lot of chaos in the process.

Aes Sedai channel saidar from the True Source, which as one character describes, it is, “the driving force of creation, the force the Creator made to turn the Wheel of Time.” Channelers weave flows from five elements—Earth, Water, Air, Fire, and Spirit—for various affects. Aes Sedai, or any trained female channeler, can see when other women are using the One Power. It glows like an aura around the wielder.

Not everyone is born with the ability to channel, or the spark. Sometimes if a girl unknowingly begins channeling and doesn’t receive training from an Aes Sedai, she will die. Others channel on their own and survive without Aes Sedai training or interference.

Where Do the Aes Sedai Live?

The city of Tar Valon with the White Tower and Dragonmount in the background
Prime Video

The Aes Sedai call the island of Tar Valon home. They occupy the White Tower, which sits in a kind of campus. Aes Sedai do not have to permanently reside in the White Tower once they’re full sisters, though many do. Aspiring sisters train in the tower from Novice, to Accepted, to Aes Sedai. Warders also train and live on the grounds.

How Does Someone Become an Aes Sedai?

An Aes Sedai can sense if another women has the ability to channel. Whenever possible, they try to bring these women, usually on the younger side, to the White Tower to receive at least enough training to prevent the women from harming themselves with One Power. Some young women find their own way to Tar Valon too. Those who can channel start as Novices, then after they learn and grow in strength (if they do), they become Accepted. At the Accepted level, the woman must pas through the arches and then she receives an Aes Sedai ring—the Great Serpent ring. It depicts a serpent eating its own tail, a symbol of the ever-turning wheel of time. From Accepted, a woman goes on to become full Aes Sedai.

Once a full Aes Sedai, the woman has to take three oaths: to tell no lies, to not make any weapons that be used to harm other beings, and to not wield the One Power as a weapon. They make the oaths on the Oath Rod, which makes the oath unbreakable with the One Power. At this time they choose which Ajah they would like to join.

Aes Sedai Ajahs

Liandrin, wearing red with her hair in braids, stands in a corridor in The Wheel of Time
Prime Video

The Aes Sedai split themselves into one of seven Ajahs: Blue, Red, Yellow, Green, Gray, Brown, and White. Each Ajah has its own purpose and leaders. When Aes Sedai become full sisters, they choose the Ajah they want to join. Aes Sedai often wear a color representing their Ajah, and in the books, they sometimes don vine-embroidered shawls that have fringe showing their Ajah’s color.

The Yellow Ajah heals, and the Blue Ajah is about righteous causes and justice. The Red Ajah loathes men and focuses on the misuse of the One Power, especially as it pertains to men channeling. The Green Ajah stands ready for the Last Battle, or Tarmon Gai’don. Grays are all about diplomacy and politics, while Browns put their energy towards gathering and preserving knowledge. And finally the White Ajah specializes in philosophy and logic.

An eighth Ajah exists too: the Black Ajah. Members of this Ajah have pledged themselves to the Dark One. They largely keep this allegiance secret and operate from the shadows.

Aes Sedai and Warders

Lan riding Mandarb in The Wheel of Time season two trailer
Prime Video

With the exception of the Red Ajah, nearly every Aes Sedai bonds a Warder. Members of the Green Ajah often bond more than one and sometimes marry one of their Warders. Aes Sedai use the One Power to bond a Warder (with permission) to serve as a bodyguard, basically. With the bonding, a Warder gains enhanced abilities such as stamina and strength. They form an emotional bond, and a Warder and Aes Sedai can sense each other’s physical locations.

Aes Sedai Politics

The Amyrlin Seat in The Wheel of Time tv series

Amazon Prime Video

Like any organization, the Aes Sedai have a leader and a council. They call their leader the Amyrlin Seat; the position’s full title is the Amyrlin Seat, Watcher of the Seals, the Flame of Tar Valon. Once sisters raise her to the position, she leaves her Ajah behind and becomes a mother to all Aes Sedai. The Amyrlin Seat wears a stole with seven stripes to represent the seven Ajahs. The Amyrlin Seat’s right hand woman is the Keeper of the Chronicles. The Amyrlin appoints the Keeper with the Hall of the Tower’s support and typically chooses the Keeper from the same Ajah that the Amyrlin once belonged to. Though the Keeper formally leaves that Ajah like the Amyrlin, the Keeper’s stole is the color of her former Ajah.

During The Wheel of Time, the current Amyrlin Seat is Siuan Sanche and the Keeper of the Chronicles is Leane Sharif.

The Aes Sedai have a council called the Hall of the Tower. Three Sitters from each Ajah sit on the council and implement the Amyrlin’s rules and also create policies for the whole of the organization.

Aes Sedai and the Age of Legends

Lews Therin arguing with Ladra in The Wheel of Time
Prime Video

The events of The Wheel of Time take place in the Third Age, which spans over 3,000 years. But before that was the Second Age, also known as the Age of Legends. During that period, there were more Aes Sedai and they were more powerful. Saidin was not yet tainted, so male and female channelers worked together. The Aes Sedai in this age could make tools that helped them channel more of the One Power—angreal, sa’angreal, and ter’angreal.. The Age of Legends comes up repeatedly in the books and we’ve seen it in the TV series as well. It’s an important era to keep in the back of your mind.

Originally published on September 2, 2021.











Source link

The world of The Wheel of

The background-checking tool used by Match Group to offer a safety feature for Tinder users is shutting down. The non-profit and female-founded Garbo, which the dating app conglomerate has partnered with since 2019, will shut down its consumer tool at the end of August. “Most tech companies just see trust and safety as good PR,” Kathryn Kosmides, Garbo’s founder and CEO, told The Wall Street Journal, which published a report on the severed partnership. “I’d rather Garbo shift focus to our other efforts than allow the vision of Garbo to be compromised and relegated to a piece of big corporations’ marketing goals.”

A Match Group spokesperson supplied a statement to Engadget. “Match Group has made significant investments to enhance safety across our platforms over the last few years and we will continue to do so. From features like ‘Are you Sure?’ and ‘Does this bother you?’ to background checks, we have created tools and made investments that no other dating apps offer. We are committed to continuously investing and building industry-leading features that give users more information and control over who they choose to connect with on our platforms.”

The company suggests it’s in the process of finding a replacement partner to check for histories of violence. “While we are disappointed that we were unable to come to an agreement, we are in advanced conversations with alternate providers and will announce a new partnership soon,” the spokesperson wrote.

Dating apps owned and run by Match Group include Hinge, Tinder, Match, OkCupid and Plenty of Fish (among others).

SOPA Images via Getty Images

Kosmides told the WSJ that Garbo’s decision to suspend the tool spawned from disagreements with Match Group and difficulties getting platforms to pay for its services. She described internal disputes within Match Group brands about how to make the tool work.

Tinder leaders reportedly pushed for a system that would encourage users to run background checks on themselves to receive a badge on their profile, described as “a way to engage those who are less likely to run [background checks] themselves (predominantly men) and highlight the majority of people that are good,” an internal document viewed by the WSJ read. Garbo rejected the idea, and Kosmides told the paper, “You can’t white-list someone or give them a ‘good guy, bad guy’ identity verification.”

Public and regulatory interest in dating app safety rose in 2019 when ProPublica published a widely circulated story about sex offenders using dating apps. A Match Group spokesperson was quoted in the story as telling Columbia Journalism Investigations, “There are definitely registered sex offenders on our free products.” The uproar led to increased scrutiny from Capitol Hill. U.S. Reps. Jan Schakowsky (D-IL) and Ann Kuster (D-NH) sent a letter in 2020 to Match Group inquiring about protecting users from registered sex offenders. The pair sent a follow-up letter this July, noting that the dating company no longer discloses the size of its trust and safety team.

The intensified public and political interest heightened pressure on Match Group to do something, and its leadership reportedly saw Garbo — a new and untested product still under development at the time — as a novel solution. The dating conglomerate announced its $1.5 million partnership with the group in 2021 and launched a consumer tool the following year — with the company paying to offer two free background searches for Tinder users. Some criticized the move for providing a false sense of security, although Match Group cautioned not to view it as an all-in-one fix.

This summer, with Match Group and Garbo failing to agree on funding terms, the latter’s board met and voted to terminate the tool. Garbo, which also partnered with smaller firms, says it will shift back to being volunteer-run beginning on September 1st. The organization says it will “refocus our efforts on further ways to directly empower individuals with new and innovative tools to protect themselves from gender-based violence and other interpersonal harms in the digital age.”

Undeterred from its core mission, it adds, “We also plan to continue fiercely advocating for reforms in the criminal justice and public record systems to protect victims and hold bad actors accountable.”

All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. All prices are correct at the time of publishing.

Source link

The background-checking tool used by Match Group

In a stunning move, Adobe has announced a new update to Premiere Pro that doesn’t have to do with AI or machine learning. Yeah, we’re stunned, too. But rest assured, while there will undoubtedly be more AI updates coming to Premiere Pro and the rest of the industry soon still, it’s at least a nice reminder that Adobe does care about improving its product and the productivity of its creators.

With this new Premiere Pro 23.6 version, Adobe has focused on optimizing its workflow with ARRIRAW, as well as doubling down on improving its color management features in its legacy NLE.

Let’s take a look at version 23.6 for Premiere Pro and go over how and why you should consider updating your app to get its newest tools and features today.


Adobe Premiere Pro 23.6

The crux of this new update centers around this new optimized workflow with ARRIRAW. Since adding ARRIRAW support just about a year ago, Adobe has been working behind the scenes to improve the workflow and experience for those looking to work with ARRI’s famous format.

This new version 23.6 should make the ARRIRAW workflow experience more easy-to-use and flexible than ever before as it improves format support and GPU acceleration. Also, ARRIRAW will now be able to playback in real-time and should look as incredible as you would expect, so that editors and cinematographers can get back to editing and grading.

To find the new color management settings for ARRIRAW, all you have to do is navigate to the Interpret Footage > Color pathway, and, in the Color Settings panel, you can now automatically detect Log C Media Color Space to override the color space or apply an Input LUT.

You can also read about the new workflow features here on Adobe’s site.

If you’re using ARRIRAW in Rec709 color space as a source, the media will now be fully color managed.

CREDIT: Adobe

Color Management Updates

For those who might not have been paying too close of attention to the last few updates to Premiere Pro, Adobe has slowly been introducing more and more improvements to color in Premiere Pro by making it faster, easier and overall more consistent.

With Premiere Pro 23.3 for example, Adobe introduced Automatic Tone Mapping, making it easier to mix and match footage and work with HDR media like iPhone HLG and 10-bit log footage in the same SDR timelines. (Since this 23.3 version, Auto Tone Mapping has been on by default, but you can turn it on or off in your sequence settings if you’re looking to use a LUT-based workflow.)

Along with this tone mapping though, Adobe has moved the Auto Detect Log Video Color Space setting from Preferences to Project Settings which should further speed up workflows.

How to Download

Adobe Premiere Pro version 23.6 is currently available to download and can be accessed through the Creative Cloud desktop app.

From Your Site Articles

Related Articles Around the Web

Source link

In a stunning move, Adobe has announced

You can’t predict the weather, but if you prep your closet with one of the best puffer jackets, you can at least be prepared for when winds start to blow. Puffers of all weights, lengths, and looks are fall wardrobe wardrobe essentials and winter staples for a reason: Equal parts utilitarian and stylish, they can hold their own no matter what the forecast predicts—and look cute doing it too.

If you’re already in the market for the warmest puffer jacket, there are a wide range of options based on your needs. Down holds in warmth while feathers provide structure, and most puffer jackets offer a blend of both. Look for a higher down percentage if you want your coat to be light as air and easily packable, while a higher feather content means you can trust your puffer coat to hold its shape in inclement weather. If you’re not a fan of down or feathers or you’re on a budget, down-alternative coats provide nearly as much warmth as those filled by our feathered friends, and are often a more inexpensive option.

Meanwhile, ultra light quilted styles (a key fashion trend this year) can be great transitional pieces when it’s not quite warm enough to step out in your heaviest fall jacket or winter coat.

Whether you’re looking for the most effective puffer jacket for a snowy day, a padded cropped pick to take hiking or for travel (looking at you, Uniqlo), or a printed piece to add a fun twist to your capsule wardrobe, scroll on to see the best brands for puffer jackets below, then grab a pair of fall boots and a cozy sweater to get ready for the seasons ahead.

Our top picks

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Source link

You can’t predict the weather, but if

Kerry Washington
Photo: Dimitrios Kambouris/Getty Images for The Met Museum/Vogue (Getty Images)

Due to the ongoing actors’ strike, we’ve recently been inundated with stories about the years some famous Hollywood stars—like John Cusack and Glen Powell, for example—spent taking small roles while they waited for their big breaks. We would never be so narrow-minded as to assume this was every major actor’s truth, however. In fact—in their heart of hearts—all some stars seem to want to do is go home, kick up their feet, and leave it all behind.

Unprisoned’s Kerry Washington belongs to the latter group, joining a small but mighty chorus that also includes Bullet Train’s Aaron Taylor-Johnson as of this Monday. “I have spent a lifetime trying to not be an actor,” she recently told W magazine in a pre-strike interview.

“I am always quitting this business, and then right when I decide that I’m done is when something extraordinary comes across my desk,” she clarified. “I was really, really done with this business right before I read the script for Ray. I was really, really done with this business right before I read the script for The Last King of Scotland. I was entirely done with this business before reading the script for Scandal. This is what happens again and again.”

For Washington, as it was for Taylor-Johnson, success tends to look a little different than simply nailing the next big credit. “I have moments where I feel really lucky, moments where I can’t believe that I’m in the room that I’m in, moments where I feel kind of awed by my life,” she said. “To have the incredible kids I have, and the amazing husband I have, and the career that I have. I have moments of feeling really awed, but I don’t feel successful—because I still feel curious and hungry and excited to continue to work and get better and do more.”

While the actor didn’t say it in so many words, Washington’s sentiments are clearly in line with the goals of the historic double strike, which she and some former Scandal castmates recently reunited for. It seems like it was the toxic culture—the “business” side, specifically—that kept forcing her to reconsider; the scripts, the creativity, and the writers behind them are what pulled her back in time and time again.

Source link

Kerry WashingtonPhoto: Dimitrios Kambouris/Getty Images for The

Bradley Cooper in Maestro – Picture: Netflix

Bradley Cooper, in his first Netflix Original, will star and be in the director’s seat for Netflix’s upcoming Leonard Bernstein biographical drama, Maestro. The film will be released in a limited number of theatres and will be coming to Netflix in December 2023. Below we’ll keep track of all major production updates, casting news, trailers, and the Netflix release date.

Maestro is an upcoming Netflix Original based on the career of legendary composer Leonard Bernstein. Cooper wrote the screenplay alongside Spotlight producer Josh Singer.

Article continues below…

The project has been a long time development, with word that it was in development first released back in January 2020. The film was first at Paramount before moving to Netflix.

Several companies are credited with working on Maestro, including; Joint Effort, Sikelia Productions, Fred Berner Films, and Amblin Entertainment.

Legendary directors Martin Scorsese and Steven Spielberg are attached to the project as producers, along with Fred Berner (Pollock), Amy Durning (Magic City), Kristie Macosko Krieger (Bridge of Spies) are also attached. Bradley Cooper is also one of the producers.

maestro biopic netflix bradley cooper Carey Mulligan copy


When is the Netflix release date for Maestro?

We now have confirmation that Maestro will be released worldwide on December 20th, 2023.

The movie will also have a limited theatre starting from November 20th, 2023.


What is the plot of Maestro?

Spanning 30 years, Maestro follows the career of West Side Story and on The Waterfront conductor and composer Leonard Bernstein and his marriage to Costa-Rican-born actress Felicia Montealegre.

The official Netflix synopsis for the movie is as follows:

“Maestro is a towering and fearless love story chronicling the lifelong relationship between Leonard Bernstein and Felicia Montealegre Cohn Bernstein. A love letter to life and art, Maestro at its core is an emotionally epic portrayal of family and love.”


Who are the cast members of Maestro?

Bradley Cooper as Leonard Bernstein

leonard bernstein documentary netflix original bradley cooper

Taking on the role of the legendary director Leonard Bernstein will be Guardians of the Galaxy fan favorite, Bradley Cooper. Maestro will be the second feature film directed by Bradley, and his first since A Star Is Born.

Maestro will be the first Netflix Original for Bradley Cooper as both an actor and a director.

Cooper reportedly worked closely with the Bernstein estate to nail the details of the biographical drama.

Carey Mulligan – Felicia Montealegre

leonard bernstein documentary netflix original carey mulligan

The Great Gatsby actress Carey Mulligan will act alongside Bradley Cooper’s Leonard Bernstein as Felicia Montealegre, the Costa Rican actress, and wife of Bernstein.

Maestro will be the third Netflix Original for Mulligan, after previously starring in the critically acclaimed titles Mudbound and The Dig. Mulligan is also well known for her role as Kathy in Never Let Me Go and Daisy Buchanan in The Great Gatsby.

Maya Hawke – Jamie Bernstein

It’s taken a long time to learn more about the cast of Maestro, but we do have confirmation that Stranger Things actress Maya Hawke has been cast as Jamie Bernstein, the daughter of Leonard Bernstein and Felicia Montealegre.

maya hawke jamie bernstein maestro netflix

Sarah Silverman as Shirley Bernstein

Veteran comedian and actress Sarah Silverman have been cast in the role of Leonard Bernstein’s sister, Shirley. Silverman is most well known for the comedy series The Sarah Silverman Program, and for providing the voice of Vanellope in the Wreck-It Ralph movies.

Here’s the full cast for Maestro:

  • Bradley Cooper as Leonard Bernstein
  • Carey Mulligan as Felicia Montealegre
  • Jeremy Strong as John Gruen
  • Maya Hawke as Jamie Bernstein
  • Sarah Silverman as Shirley Bernstein
  • Matt Bomer – TBC
  • Sam Nivola as Alexander Bernstein
  • William Hill as Joseph
  • Gideon Glick as Tommy Cothran
  • Miriam Shor as
  • Oscar Pavlo – Claudia Arrau
  • Mallory Portnoy – Betty Comden
  • Oraldo Austin

What is the production status of Maestro?

At one point, filming was scheduled to begin as early as April 2021, but for one reason or another, pre-production continued for at least another year. Eventually, we learned that production sheets state that Maestro is set to film in May 2022.

Production did indeed get underway in May, visiting numerous locations in the US and worldwide.

The first batch of filming began on May 21st in Tanglewood, Massachusetts. Once filming was completed in Massachusetts, production moved to New York and East Hampton for an undisclosed period before further filming took place in Italy and then moved to London for its last stint.

Throughout production, the series was spotted filming in numerous locations, and Netflix itself released its own pictures throughout production:

maestro biopic netflix bradley cooper carey mulligan

We’ve got our first look at the set of Maestro with Carey Mulligan and Bradley Cooper dressed in costume as Leonard Bernstein and Felicia Montealegre, respectively.


Are you excited to watch Maestro on Netflix? Let us know in the comments below!

Source link

Bradley Cooper in Maestro – Picture: Netflix Bradley

Nominations voting is from January 11–16, 2024, with official Oscar nominations announced on January 23, 2024. Final voting is February 22–27, 2024. And finally, the 96th Oscars telecast will be broadcast on Sunday, March 10, and air live on ABC at 8 p.m. ET/ 5 p.m. PT. We update predictions throughout awards season, so keep checking IndieWire for all our 2024 Oscar picks.

The State of the Race

“Barbie” (Warner Bros.) is the one to beat for its immersive brilliance in conveying Mattel’s fashion history and tailoring it to fit story arcs for Barbie (Margot Robbie) and Ken (Ryan Gosling). But there’s plenty of competition from “Killers of the Flower Moon” (Apple TV+/Paramount), “Poor Things” (Searchlight), “Wonka” (Warner Bros.), “Dune: Part Two” (Warner Bros.), “The Color Purple” (Warner Bros.), “Asteroid City” (Focus Features), “Napoleon” (Apple TV+/Sony Pictures), “Maestro” (Netflix), “Oppenheimer” (Universal), “Priscilla” (A24), “Beau Is Afraid” (A24), and “Saltburn” (Amazon/MGM).

Greta Gerwig’s blockbuster “Barbie” is the epitome of costume design: a fashion statement as well as an expression of character building for Barbie’s transformation from doll to human. The director reunites with Oscar-winning costume designer Jacqueline Durran (“Little Women”), who applied an interpretive design based on the history of Barbie costumes from Mattel spanning 60 years. This had the effect of sparking the memories of anyone who’s ever played with Barbies throughout the decades. It kicks off with the “2001: A Space Odyssey”-inspired monolithic opening, which presents Barbie as the first doll that had agency as a feminist statement. Durran started with the doll fashion pack as a reference point for coordinating outfits and accessories. Pink was dominant but there were other dazzling colors and color combinations. The swimwear was culled from the ’50s and ’60s retro fits inspired by Brigitte Bardot. Chanel, which designed a pink-suited Barbie in the 2000s, was brought in as a collaborator to help with ’80s period styles.

“Killers of the Flower Moon” marks the first opportunity for costume designer Jacqueline West to work with director Martin Scorsese. The four-time Oscar nominee (“Dune,” “The Revenant,” “The Curious Case of Benjamin Button,” “Quills”) found that his passion for authenticity paired well with her creative process on this 1920s fact-based Oklahoma crime drama about the serial murders of Osage Indians to steal their oil-rich territory. West worked with several Osage consultants on wardrobes, particularly Julie O’Keefe, and referenced the book “Wedding Clothes and the Osage Community.” The consultants provided West with clothes, photos, and filmed events from the story’s time period. As a result, she utilized many indigenous fabrics, colors, and styles for certain characters throughout the film. For example, Lily Gladstone’s Mollie Burkhart was dressed more traditionally than her sisters early on and subsequently lost the vibrancy of the colors she wore as she lost family members.

Yargos Lanthimos’ “Poor Things,” a twisted Victorian “Frankenstein” gender-bender, stars Emma Stone as Bela, who’s crudely resurrected from the dead by her scientist father (Willem Dafoe) with the brain of her unborn child. This results in a strange and surreal transformation from a traumatized woman to a fearless one who upends 19th-century roles and conventions. The costume design of Holly Waddington (“The Great,” “Lady Macbeth”), therefore, is vital in conveying Bela’s emotional state of mind throughout her journey. The aesthetic is not tied to the period but becomes futuristic as they explored the use of latex and plastic in her wardrobe. She goes from wearing a white silk cape to dressing herself in very unconventional styles, including bloomers with jacket and hat and military-looking dresses.

“Killers of the Flower Moon”

West is back with co-costume designer Robert Morgan on Denis Villeneuve’s “Dune: Part Two.” The Oscar nominees continue their “modern-medieval” aesthetic to explore Paul (Timothée Chalamet) leading the nomadic Fremen into their holy war on the desert planet Arrakis. For the desert people, they referenced Bedouins and Tuaregs, Goya paintings, and the colors of the rocks and sands in Jordan. The complex gray stillsuit of the Fremen remains the innovative centerpiece, bringing to life the sophisticated and highly practical fluid recycling system. There will be more styles for the Bene Gesserit, whose robes were based on tarot cards and chess pieces, and the Harkonnen, influenced by Greek and Roman mythology, with the introduction of Austin Butler’s bald, sword-wielding baddie, Feyd-Rautha (who appears in black-and-white in the trailer’s gladiator scenes).

“Wonka,” the musical fantasy prequel from director Paul King (“Paddington”) starring Chalamet as the famed chocolate maker in training, enlists the director’s Oscar-winning costume designer Lindy Hemming (“Topsy-Turvy”). She seizes on a fantastical Victorian/Edwardian look for the wardrobes, and the centerpiece, of course, is her re-imagining of Wonka’s signature outfit: a velvet burgundy jacket, a brown and green-streaked shirt, a brown, blue, and red silk necktie, and iconic brown top hat.

Wes Anderson’s existential, Cold War odyssey “Asteroid City,” mainly set in a mid-’50s desert town, contains quirky and vibrant outfits from Oscar-winning costume designer Milena Canonero (“The Grand Budapest Hotel,” “Marie Antoinette”) that are nostalgic shout-outs to the era. The highlight revolves around the romance between Jason Schwartzman’s war photographer and Scarlett Johansson’s glam movie star. He’s personified by the khaki safari outfit and she by the alluring dress with hand-painted cactus flowers.

Christopher Nolan tapped costume designer Ellen Mirojnick (the Emmy-winning “Behind the Candelabra”) for his “Oppenheimer” biopic thriller about physicist J. Robert Oppenheimer (Cillian Murphy), and she provided the signature dapper look for the “father of the atomic bomb.” Oppenheimer’s silhouette remained constant once he arrived at Berkeley, and his iconic three-piece suits and fedora became his uniform and armor. This was the fashion statement that visually set him apart from the other scientists.

Emma Stone and Mark Ruffalo in POOR THINGS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2023 20th Century Studios All Rights Reserved.
“Poor Things” Searchlight PicturesAtsushi Nishijima

Ari Aster’s “Beau Is Afraid,” in which Joaquin Phoenix’s paranoid man-child goes on a surreal odyssey, contains an odd array of outfits and fashions from costume designer Alice Babidge (“The Dig”). Beau dresses like an adolescent throughout when he’s not wearing pajamas or the farmer’s outfit in the alternate reality of the stage play. It’s some of the other characters that are dressed more flamboyantly, including the striped dress worn on the cruise by younger mother Mona (Zoe Lister-Jones) or the wild printed pajamas worn by Nathan Lane’s Roger, the doctor who rescues Beau.

As for the rest: Blitz Bazawule’s “The Color Purple,” adapted from the Broadway stage musical, starring Fantasia Barrino as Alice Walker’s celebrated Celie, leans into magical realism. This extends to the colorful early 20th-century wardrobes for the ensemble cast from costume designer Francine Jamison-Tanchuck (“One Night in Miami”). Bradley Cooper’s “Maestro” explores legendary conductor/composer Leonard Bernstein (Cooper) through the lens of his complicated love story with actress wife Felicia Montealegre (Carey Mulligan), spanning more than 30 years. Oscar-winning costume designer Mark Bridges (“Phantom Thread,” “The Artist”) helps transform the Renaissance Man of American music through his sartorial elegance. Ridley Scott’s “Napoleon” has Oscar-winning costume designer Janty Yates (“Gladiator”) dressing the power couple of Napoleon Bonaparte (Phoenix) and wife Joséphine (Vanessa Kirby) in eye-popping military and neo-classical fashion (including their gold-embellished coronation outfits).

In addition, “Saltburn,” Emerald Fennell’s wicked satire of wealth and privilege at the dawn of the 21st century, features costume designer Sophie Canale (“Kingsman: The Secret Service”) highlighting class differences when fish-out-of-water Oxford student Barry Keoghan spends the summer at the sprawling estate of aristocrat Jacob Elordi and his eccentric family. Sofia Coppola’s “Priscilla,” costume designed by Stacey Battat (“On the Rocks,” “The Beguiled”), provides a counter perspective to Baz Luhrmann’s “Elvis.” It’s an American princess story between Cailee Spaeny’s teenage Priscilla and Jacob Elordi’s Elvis, with a touch of “Marie Antoinette” for inspiration.

Potential nominees are listed in alphabetical order; no film will be deemed a frontrunner until we have seen it.

Frontrunners

“Asteroid City”
“Barbie”
“Beau Is Afraid”
“Killers of the Flower Moon”
“Oppenheimer”

Contenders

“Dune: Part Two”
“Maestro”
“Napoleon”
“Poor Things”
“Priscilla”
“Saltburn”
“The Color Purple”
“Wonka”

Source link

Nominations voting is from January 11–16, 2024,

Sufjan Stevens is so adept at quietly expansive chamber-folk that it’s a solace when he returns to this mode. “So You Are Tired,” the first single from Stevens’ upcoming Javelin—billed as his first true singer-songwriter album since 2015’s Carrie & Lowell—is close to the platonic ideal of a delicate Sufjan ballad, like 2004’s “To Be Alone With You” or 2017’s “Mystery of Love.” Written, arranged, produced, and performed almost entirely by himself, it’s a breakup song that sounds like a lullaby. In his breathy library whisper, Stevens rearranges his words so subtly that they feel foreordained: “A man born invisible” becomes “a man indivisible” becomes “the man still in love with you/When I already knew it was done.” Piano, guitars, strings, and guests’ backing vocals pile up as patiently as the somber narrative, coming together with such effortless elegance that someone in the next room might think you’re just listening to a pretty movie soundtrack. But it’s more than that—a hard-won epiphany, a hushed examination of the human spirit that puts other singer-songwriters to shame.

Source link

Sufjan Stevens is so adept at quietly

1977

Bella quickly refocuses to run in the upcoming election for New York City mayor. If elected, she would be the first female mayor of New York. A boisterous campaign ensues against five other big personalities, with Bella seen as the front-runner. The race occurs against the backdrop of a New York suffering from a budget crisis, severe decay and crime, a murderer on the loose, and a heat wave that leads to a blackout and days of looting, fire and vandalism. Bella wins Manhattan, but is beaten citywide by her old foe, Ed Koch.

1977

Source link

1977Bella quickly refocuses to run in

British tourists caught up in a ‘catastrophic’ wildfire that ripped through a holiday hotspot in France today described their ‘terrifying’ bid to escape the flames that destroyed campsites and homes.

More than 3,000 terrified tourists and local residents fled for their lives from their holiday homes and campsites in the popular holiday region of Pyrenees-Orientales, southern France, as the wildfire swept through villages.

Britons have told how panicked families who had quickly packed their belongings and fled campsites in the commune of Saint-Andre in their cars became trapped in traffic jams after they realised they were in fact heading towards the quickly expanding flames of the wildfire.

Zak Dhabalia, 55, a retired British hedge fund manager who lives in the nearby village of Sorede and saw the flames come perilously close to his home, said it was an ‘extraordinary and terrifying experience for us all’.

Dhabalia, who lives with his French wife Sylvie Dhabalia, told MailOnline it was ‘terrifying’ to see how quickly the wildfire spread across the vineyards towards the campsites which were gutted by the flames, adding that he could hear gas canisters exploding at the site.

.

Zak Dhabalia, 55, a retired British hedge fund manager who lives in the nearby village of Sorede, shared footage of the wildfire from his home

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Pictured: A camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, southern France, on Tuesday

Pictured: A camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, southern France, on Tuesday

French firefighters work at a house destroyed by a wildfire in Saint-Andre, southern France, on Tuesday

French firefighters work at a house destroyed by a wildfire in Saint-Andre, southern France, on Tuesday 

Zak Dhabalia, 55, a retired British hedge fund manager who lives in the nearby village of Sorede with his wife (pictured together) and saw the flames come perilously close to his home, said it was an 'extraordinary and terrifying experience for us all'

Zak Dhabalia, 55, a retired British hedge fund manager who lives in the nearby village of Sorede with his wife (pictured together) and saw the flames come perilously close to his home, said it was an ‘extraordinary and terrifying experience for us all’

More than 3,000 terrified tourists and local residents fled for their lives from their holiday homes and campsites in the popular holiday region of Pyrenees-Orientales, southern France, as the wildfire swept through villages. Pictured: Tourists at temporary accommodation in Argeles-sur-Mer on Tuesday

More than 3,000 terrified tourists and local residents fled for their lives from their holiday homes and campsites in the popular holiday region of Pyrenees-Orientales, southern France, as the wildfire swept through villages. Pictured: Tourists at temporary accommodation in Argeles-sur-Mer on Tuesday 

The former banker said that on a nearby road, panicked holidaymakers and locals who had tried to flee the fire in their cars ‘couldn’t move’ after some realised they were heading towards the fire.  

‘We were scared because we thought that if the wind changes we’d be packing our bags and making sure we had an available exit route,’ Dhabalia told MailOnline. 

‘What was scary was that on one of the roads, you had this massive blockage because people were turning their cars around as soon as they realised they were heading towards the fire – and the people who were already trying to get out, couldn’t move.’

The blazing wildfires have so far gutted scores of homes and destroyed a campsite in the nearby commune of Saint-Andre. Video shows the flames getting perilously close to campsites, where children can be heard screaming in terror.

The flames have ripped through 500 hectares of land and Dhabalia described how the flames quickly spread towards the campsite within just 15 minutes – too quickly for firefighters to be able to contain the fire before it ravaged the holiday homes. Thousands of people have now been evacuated to temporary accommodation.

‘I have to say it’s been quite an extraordinary and terrifying experience for us all. I was initially driving back to my property in the morning and I could see that the fire was really raging quite close to the junction near the village where I live,’ Dhabalia said. 

‘Over the course of about 15 minutes, I could see the speed and rapidity of the fire spreading across the vineyards and headings towards the campsites which were later destroyed and evacuated. I started hearing explosions as well – basically gas cannisters going of on some of the properties and mobile homes in the area.’ 

Dhabalia said his family were lucky and didn’t end up evacuating, but his friends and neighbours were ‘in tears’ as they had to flee from their homes, worried that their livelihoods would be destroyed. For many, they returned to the blackened shells of their homes.

‘Everyone was shocked by this fire. Elderly people were panicking, they said they had never seen a fire like that this close to the village,’ Dhabalia said. ‘We are still in a state of shock about what happened, it’s a sobering experience.’

Harrowing photographs show the extent of the damage caused by the wildfires, with the gutted remains of homes seen in Saint-Andre. Cars were incinerated and a campsite was destroyed by the blaze.

French firefighters work at a camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, on Tuesday

French firefighters work at a camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, on Tuesday 

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

Firefighters battle to contain a wildfire in Saint-Andre, southern France, on Monday

More than 3,000 tourists have now been evacuated from their holiday campsites across the region to temporary accommodation in town halls as the blaze swept through the villages close to the seaside resort of Argeles. 

The local mayor described how she saw dozens of ‘families with flabbergasted children’ walk through the doors, some still in their swimsuits as they were unable to reach their campsite due to flames.

‘Our town is hard hit, there is a lot of damage,’ the mayor of Saint-Andre told France Bleu on Tuesday. ‘The village is burned on both sides, a third has been hit by the fire.’

British tourist Dave Robson, who had been on holiday in the nearby Argeles-sur-Mer, shared footage on social media of planes dropping retardant and water onto the wildfires one after the other. 

He wrote on Facebook: ‘It seems you can’t take a holiday in Europe these days without getting caught in a wildfire. Smoke in the town, fuel stores going off like bombs and firefighter planes lining up down the valley.’  

The wildfire broke out on Monday afternoon and the blaze spread rapidly near the villages of Saint-Andre, Sorede and the seaside resort of Argeles due to the ‘extremely hot weather, drought and strong winds of up to 180km/hr’. 

Officials said the wildfire has been contained but remains dangerous as about 450 firefighters backed up by surveillance aircraft today continued to battle the flames south of the city of Perpignan. 

‘The fire has been contained,’ senior regional official Rodrigue Furcy told local radio, but the worst affected area was ‘under close surveillance and firefighters were still battling the blaze’.

A woman takes a picture of a wildfire that broke out leading to the evacuation of more than 3,000 people from nearby campsites in Saint-Andre near Argeles-sur-Mer south-western France on Monday

A woman takes a picture of a wildfire that broke out leading to the evacuation of more than 3,000 people from nearby campsites in Saint-Andre near Argeles-sur-Mer south-western France on Monday

Firefighters use hoses to fight the blaze in southern France on Monday

Firefighters use hoses to fight the blaze in southern France on Monday 

The smouldering remains of a house are seen behind a pool in the aftermath of the fire that ravaged the commune of Saint-Andre in Pyrenees-Orientales on Tuesday

The smouldering remains of a house are seen behind a pool in the aftermath of the fire that ravaged the commune of Saint-Andre in Pyrenees-Orientales on Tuesday 

The smouldering remains of a house are seen in the aftermath of the fire that ravaged the commune of Saint-Andre in Pyrenees-Orientales on Tuesday

The smouldering remains of a house are seen in the aftermath of the fire that ravaged the commune of Saint-Andre in Pyrenees-Orientales on Tuesday

Incinerated vans and cars are seen in a destroyed campsite following a blazing wildfire in Saint-Andre, southern France, on Tuesday

Incinerated vans and cars are seen in a destroyed campsite following a blazing wildfire in Saint-Andre, southern France, on Tuesday

A boy lays down as survivors stand at a temporary accommodation in Argeles-sur-Mer, southern France, on Tuesday after being evacuated from a campsite due to the wildfires

A boy lays down as survivors stand at a temporary accommodation in Argeles-sur-Mer, southern France, on Tuesday after being evacuated from a campsite due to the wildfires 

The wildfires ripped through Saint-Andre in the popular holiday region of Pyrenees-Orientales, southern France, close to the city of Perpignan

The wildfires ripped through Saint-Andre in the popular holiday region of Pyrenees-Orientales, southern France, close to the city of Perpignan

Seventeen firefighters had sustained light injuries and one was admitted to hospital after a fall ‘but the good news is that there have been no fatalities’, Furcy continued. 

Thirty houses had been damaged, along with a warehouse and a campsite, with thousands of people evacuated to temporary accommodation. 

Roussillon Bernadette Michalak Guimbert, the deputy mayor of Argeles-sur-Mer, told France Bleu that she saw families arrive in the town hall ‘in swimsuits’ because ‘they were returning from the beach or from walks and they could not reach their campsite’. 

Guimbert added that among the evacuees are ‘many families with flabbergasted children’. She said they woke up this morning ‘very dazed’ after they were forced to flee the flames of the roaring wildfire.  

Several roads were also closed and the train service from Perpignan to the Spanish border was suspended for several hours.

Bordering on Spain, the Pyrenees-Orientales region has been affected worse than any other French region by a devastating drought.

Last week, firefighters battled another wildfire near the southwestern city of Bordeaux that forced around 8,000 people to flee their homes and holiday villas.

Authorities in Spain’s northern Basque Country region said France had stopped freight trucks from crossing the border at Irun due to the fire.

More than 60 square kilometers (23 square miles) have burned in the Gironde region and the neighboring Landes. 

The Gironde region was hit last month by major wildfires that forced the evacuation of more than 39,000 people, including residents and tourists.

France is this week in the midst of its fourth heat wave of the year as the country faces what the government warned is its worst drought on record. 

Temperatures in the south of the country are expected to reach up to 40 degrees Celsius (104 degrees Fahrenheit).

Wildfires have ravaged countries across southern Europe this summer, forcing thousands to be evacuated and thousands more to cancel their holidays.

Greece, Italy, Algeria and Tunisia combined lost more than 1,350 square kilometers (520 square miles) to blazes that affected 120,000 people in late July, according to European Union estimates.

Last week, a series of wildfires ripped through Portugal and neighbouring Spain as temperatures soared to over 44C, forcing the evacuation of thousands of holidaymakers from villages and campsites. 

The popular holiday island of Rhodes – known for its sparkling beeches and ancient Greek sites – was also ravaged by wildfires for 11 days last month. 

Families fled the devastated area while smoke billowed in the sky

Cars lined the roads as holidaymakers were forced to evacuate

Families quickly packed their belongings and fled the devastated area in droves as the black smoke filled the sky

.

.

Officials said the wildfire has been contained but remains dangerous as about 450 firefighters backed up by surveillance aircraft (pictured) today continued to battle the flames south of the city of Perpignan

Holidaymakers sit outside their temporary accommodation in Argeles-sur-Mer, southern France, on Tuesday after being evacuated from the wildfires

Holidaymakers sit outside their temporary accommodation in Argeles-sur-Mer, southern France, on Tuesday after being evacuated from the wildfires

A destroyed campsite and incinerated cars are seen in Saint-Andre after a wildfire ripped through southern France on Tuesday

A destroyed campsite and incinerated cars are seen in Saint-Andre after a wildfire ripped through southern France on Tuesday

A campsite was destroyed by the wildfire in Saint-Andre, southern France, as seen on Tuesday

A campsite was destroyed by the wildfire in Saint-Andre, southern France, as seen on Tuesday 

Pictured: A camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, on Tuesday

Pictured: A camping site destroyed by a wildfire in Saint-Andre, near Argeles-sur-Mer, on Tuesday

A firefighter puts out fires after the blaze that ravaged the commune of Saint-Andre on Tuesday

A firefighter puts out fires after the blaze that ravaged the commune of Saint-Andre on Tuesday

The smouldering remains of a house are seen in the aftermath of the fire that ravaged Saint Andre on Tuesday

The smouldering remains of a house are seen in the aftermath of the fire that ravaged Saint Andre on Tuesday 

The burnt remains of furniture are seen inside a house in Saint-Andre on Tuesday

The burnt remains of furniture are seen inside a house in Saint-Andre on Tuesday

After thousands of people were evacuated during the height of travel season, Rhodes is weighing how the crisis will affect its vital tourism sector, which fuels most of its economy and some 20 per cent of Greece’s.

It’s the same for other Mediterranean destinations such as Italy and Spain, where the tourism sector is also being hit by heat waves and wildfires.

Climate scientists say heat waves are more intense, more frequent and longer because of climate change — and coupled with droughts have made wildfires harder to fight.

They say climate change will continue to make weather more extreme and wildfires more frequent and destructive.

‘Climate change kills,’ Spanish Prime Minister Pedro Sánchez said last month during a visit to the Extremadura region, the site of three major blazes. ‘It kills people, it kills our ecosystems and biodiversity.’ 

Wildfires raging through Europe this summer have so far burned the second-largest area on record, even though the region is only halfway through its typical fire season, according to data from the European Union’s Joint Research Centre. 

Victor Resco de Dios, professor of forest engineering at Spain’s Lleida University, said the large fires France and Portugal suffered in early July were ‘extremely unusual’ and demonstrated how climate change is causing the fire season to start earlier and last longer. 

‘Today’s fires in the Mediterranean can no longer be extinguished… large fires are getting bigger and bigger,’ he said. 

A burnt tree split in half is seen by the remains of a burnt-out house in Saint-Andre, southern France, on Tuesday

A burnt tree split in half is seen by the remains of a burnt-out house in Saint-Andre, southern France, on Tuesday 

Remains of melted lawn - included a statue of a tortoise - are seen in the yard of a burnt-out house following the wildfire in Saint-Andre on Tuesday

Remains of melted lawn – included a statue of a tortoise – are seen in the yard of a burnt-out house following the wildfire in Saint-Andre on Tuesday

Firefighters inspect the damage and look for possible burn spots after the fire that ravaged the commune of Saint-Andre on Tuesday

Firefighters inspect the damage and look for possible burn spots after the fire that ravaged the commune of Saint-Andre on Tuesday 

A firefighter puts out fires after the blaze tore through southern France on Tuesday

A firefighter puts out fires after the blaze tore through southern France on Tuesday 

A firefighter inspects the damage and possible burn spots after the fire that ravaged the commune of Saint Andre on Tuesday

A firefighter inspects the damage and possible burn spots after the fire that ravaged the commune of Saint Andre on Tuesday

A firefighter puts out fires next to a greenhouse after the wildfires ripped through areas close to Perpignan on Tuesday

A firefighter puts out fires next to a greenhouse after the wildfires ripped through areas close to Perpignan on Tuesday 

A firefighter inspects a damaged house after the wildfires ripped through areas close to Perpignan on Tuesday

A firefighter inspects a damaged house after the wildfires ripped through areas close to Perpignan on Tuesday

More than 3,000 tourists have now been evacuated from their holiday campsites across the region after the inferno ripped through the tourist hotspot

More than 3,000 tourists have now been evacuated from their holiday campsites across the region after the inferno ripped through the tourist hotspot 

Southern European countries such as Portugal and Greece experience fires most summers, but hotter temperatures are pushing severe wildfire risk north, with Germany, Slovenia and the Czech Republic among those hit this season.

In stark contrast to the wildfires seen in France, Spain, Greece, Croatia and southern Italy in recent weeks, northern Italy and Scandinavia have been hit by devastating floods and storms.

In the Italian town of Bardonecchia, near Turin in the Val di Susa valley, a ‘tsunami of mud’ crashed through the streets on Sunday, sending people fleeing for their lives. 

Dramatic video shows the churning river of mud forming a huge wave as it burst its banks and slammed into a street following heavy rain.

Horrified residents and tourists were sent running for their lives as the ‘mud tsunami’ smashed through a gate and sent debris flying towards them on Sunday evening.

Further video shows a thick wall of mud thundering down the river banks that pass through the Alpine town, blanketing cars with debris.

Rescuers desperately searched for five people believed to have been missing following the mudslide but authorities later said all residents had been accounted for and there were no victims. 

Italy has been faced with a series of deadly floods and storms in recent months, with 13 people killed in May after a devastating flood tore through homes in the popular holiday region of Emilia-Romagna. 

Desperate families, including young children and the elderly, had to clamber on to their roofs in the tourist hotspot as they waited anxiously for rescuers to reach them in helicopters.  

In the city of Cesena locals were forced to swim through the submerged streets, past sunken cars and floating furniture, to reach higher ground.

Last month, severe storms also battered the north of Italy, killing two woman and a 16-year-old girl scout. 

The overnight storm on July 25 saw roofs torn off and hundreds of trees uprooted in Milan. Roads were blocked and cars were smashed by the debris.

Two women were killed in the northern Monza and Brescia provinces after being crushed by falling trees, while a teenager was seriously injured when he was hit by a falling branch in the Veneto region.

In the area around nearby Brescia, a 16-year-old girl on a scout camp was killed when a tree fell on her tent, according to Italian news agencies. 

Firefighters evacuated the other members of the camp, taking them to a sports hall nearby, ANSA said. 

Tourist attractions also bore the brunt of the bad weather, as the Sforza Castle was shut after some tiles were brought down and rain was heavy enough to penetrate the glass-vaulted Galleria Vittorio Emanuele II, Milan’s famed shopping arcade. 

Elsewhere in Europe, a 135mph tornado toppled a construction crane in Switzerland last month, killing one person, while ripping roofs off buildings. Storms also lashed France and Germany with torrential rain flooding streets in Berlin. 

And last week, heavy rains triggered landslides and flooding across southern Norway and Sweden, forcing communities to evacuate.

The Norwegian dam at the Braskereidfoss hydroelectric power plant, on the Glåma, Norway’s longest and most voluminous river, burst on Wednesday after days of rain. 

It caused devastating floods, with footage showing wooden cabins floating down overflowing rivers. One clip shows a mobile home crashing into a bridge on Norway’s Hemsilar river.

People were seen standing on the bridge as they watched caravans being swept away, crashing into the bridge and being crushed under the weight. 

Source link

British tourists caught up in a 'catastrophic'

Game of Thrones and EastEnders actor Darren Kent has died aged 36.

Kent’s agency Carey Dodd Associates tweeted the news earlier this afternoon, stating that Kent had “passed away peacefully on Friday” surrounded by his parents and best friend.

“It is with deep sadness we have to tell you that our dear friend and client Darren Kent passed away peacefully on Friday,” said the agency. “His parents and best friend by his side. Our thoughts and love are with his family in this difficult time. RIP my friend.”

Born in Essex, Kent started picking up acting roles in the noughties. He went on to feature in a number of major hits including Game of Thrones as Goatherd and BBC soap EastEnders. Other credits included Dungeons & Dragons: Honor Among Thieves and the BBC adaptation of Les Misérables.

Kent, who had a rare skin disorder, won Best Actor at the 2012 Van d`Or Independent Film Awards for his role in Sunny Boy. In the movie, he played a boy with a rare skin condition that prevents him from being in the sun and halts his desire to be a regular teenager.

He was also a writer-director, and he directed award-winning 2021 short You Know Me.

Source link

Game of Thrones and EastEnders actor Darren

Meant as a sly swipe at the inflated hype around artificial intelligence, a billboard at a construction site in Antwerp, Belgium, in June read “Hey ChatGPT, finish this building.”

Artificial intelligence, the technology that powers chatbots like ChatGPT, won’t be assembling apartments or erecting stadiums any time soon, but in construction — an industry stereotypically known for clipboards and Excel spreadsheets — the rapid embrace of the technology may change how quickly projects are finished.

Drones, cameras, mobile apps and even some robots are increasingly mapping real-time progress on sprawling job sites, giving builders and contractors the ability to track and improve a project’s performance.

“Forget about robots building a skyscraper,” said James Swanston, chief executive of Voyage Control, which makes project management software for construction sites. “It’s a more fundamental thing, getting the data you need and then using it better.”

The construction industry has long been considered a digital laggard, but architects regularly use digital tools to design projects and create blueprints. Seeing tablets and drones on the same work sites as hard hats and safety vests is common.

Now helmet-mounted cameras capture footage of a site to orchestrate when new crews or materials should arrive, and precise sensors can detect whether a new window is a few millimeters off the project blueprint and needs to be adjusted. And A.I. is starting to be used in buying and selling real estate: JLL, a global broker, recently introduced its own chatbot to provide insights to its clients.

This expanded analysis of data is laying the groundwork for what many hope will be substantial improvements in accuracy, speed and efficiency by reducing the bloated timelines and waste that have made construction increasingly costly.

“The construction industry is the largest in the world, in terms of dollars spent, yet we are the least productive in terms of technological adoption and productivity gains,” said David Jason Gerber, a University of Southern California professor whose research focuses on advanced technology in construction.

But the industry’s embrace of A.I. technology faces challenges, including concerns over accuracy and hallucinations, in which a system provides an answer that is incorrect or nonsensical.

And further data collection has been a knotty problem, in large part because of the nature of huge construction projects: No two developments are the same, with wildly varying topography and local regulations, and new teams of contractors and subcontractors coming together for each project. It’s akin to starting a multimillion-dollar business for every sizable project.

Coordinating the complex ballet of supplies, labor and timetables remains a daunting task. But start-ups and investors see an opportunity, especially as machine learning models, which ingest enormous amounts of data to discern patterns and predict how similar situations will progress, are used to improve project performance.

The pandemic had already pushed construction firms to adopt more digital tools to allow them to work on site during lockdowns, accelerating the development of new technology, said Sarah Liu, a partner at Fifth Wall, a venture capital firm focused on real estate investments.

“The best companies aren’t touting themselves as A.I. companies,” she said. “They’re touting themselves as problem-solving companies.”

The construction consulting firm nPlan, led by Dev Amratia, who helped draft Britain’s national artificial intelligence strategy, uses complex algorithms to map out the progress of vast infrastructure projects and avoid mistakes or supply gaps. Its machine learning system was trained on a database of more than 740,000 projects.

The firm’s largest project to date, a $11 billion overhaul of railroad infrastructure in Northern England, will use the lessons gleaned from studying that vast array of projects to create detailed, real-time project maps for builders, which is expected to shave up to 5 percent off the total cost.

Buildots, a start-up in Israel that provides project management guidance via wearable cameras that analyze building progress, signed a deal for its first U.S. project, a mixed-use development in Manhattan. The firm commissioned a study of 64 international building sites, and it found that just 46 percent of the average work site was being used at any time, evidence of poor organization and scheduling.

“At the best construction site we’ve studied, progress varied by 30 percent each week,” said Aviv Leibovici, the firm’s chief product officer and a co-founder. “I think there are massive inefficiencies in this industry.”

Construction firms have also made significant investment in their in-house technology. Avison Young’s Project Management Services division claims its proprietary software and management programs can, on average, cut development time 20 percent.

An affiliate of Suffolk, a large construction firm based in Boston, invested $110 million to fund construction start-ups, and Suffolk has a team of 30 data analysts collecting and scrutinizing information from job sites. At a construction site for South Station Tower in Boston, a 51-story development by Hines, cranes have cameras that document and label steel being used on the building’s frame, creating a data set expected to be used on other projects in the future. Additional programs are being used to track progress and even predict accidents.

“We have zero unemployment in the industry; technology is just going to help existing workers do more,” said John Fish, chairman and chief executive of Suffolk. “A.I. is just going to replace the companies that don’t use A.I.”

There is trepidation about A.I., and its reported issues with accuracy, being used in an industry where safety is so important. Programs like ChatGPT have an unfortunate tendency to occasionally make up answers based on incorrect predictions, said Julien Moutte, chief technology officer at Bentley Systems, a construction software firm.

“In infrastructure, this is something we can’t afford,” he said. “We can’t have A.I. hallucinate the design of a bridge.”

But the purported ability to work faster and cheaper has proved attractive. Dusty Robotics, a tech firm in Mountain View, Calif., develops autonomous devices to trace building blueprints on construction sites, a job typically done by hand. While researching the industry, the company’s chief executive, Tessa Lau, observed workers measuring out plans with chalk and tape; some workers had even tried taping pens to Roombas.

Ms. Lau was worried about the reaction that laborers would have to robots and A.I. encroaching on their job site. But in an industry desperate to attract younger workers, offering potential apprentices the ability to use drones and robots can help with recruitment and retention.

Tony Hernandez, a union carpentry trainer in Northern California who teaches apprentices to use drones and Dusty robots, sees these technologies as “just another tool.” He prefers the robot to trace lines instead of having to bend down and trace himself, meaning less wear and tear on his knees.

“This is a great retention tool,” he said. “It’s brought in kids who grew up on Xbox and can figure out these tools in a five-hour class.”

Dusty has 120 units on sites across the United States, but that is just the beginning. Ms. Lau calls the units, which can collect gigabytes of data, “Trojan horses to train the A.I.s of the future.”

Reducing risk may ultimately be where this technology makes its mark. Depending on the location and nature of work, insurance can make up as much as 10 percent of the cost of a single project, which can easily be hundreds of millions of dollars. Now, with A.I. providing better ways to keep on task, there is less risk and cheaper insurance options.

Shepherd, an insurance start-up, uses construction data to provide contractors with cheaper premiums. Wint, an Israeli start-up that uses proprietary sensors and algorithms to eliminate water damage, which leads to roughly a third of damage claims on construction sites, has been used on roughly 2,500 projects. A study by Munich Re found Wint can cut the loss rate 90 percent.

“Insurance costs can be the difference between whether or not projects are able to be sustainably financed,” said Justin Levine, a co-founder and the chief executive of Shepherd.

Source link

Meant as a sly swipe at the

Earlier this year, anticipation for the summer movie season came down to one word: Barbenheimer. However, now that “Barbie” and “Oppenheimer” are out in the world and doing well, moviegoers haven’t stopped going to movies. “TMNT” and “The Meg 2” opened well last weekend while “Stray” and “Bottoms” are just around the corner. Meanwhile, on the arthouse front, the Toronto International Film Festival and New York Film Festival both unleashed massive lineups that guarantee the fall movie season will generate a lot of enthusiasm well into the next stage of the year.

In this week’s episode of Screen Talk, Eric Kohn is joined by executive film editor Kate Erbland (Anne Thompson is on vacation) to discuss some of the most intriguing offerings from these lineups. They also recap the latest stage of the WGA strike and why last week’s conversation stalled. Erbland shares her thoughts on “TMNT” and makes the case for its awards season prospects, and they look ahead to more developments around the corner.

Watch the full episode above or listen to it below.

Screen Talk is produced by Azwan Badruzaman and available on Apple Podcasts, Stitcher, and Spotify, and hosted by Megaphone. Browse previous episodes here, subscribe here, and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk. 

Source link

Earlier this year, anticipation for the summer

BAFTA-nominated visual effects supervisor Jake Morrison has joined VFX studio DNEG.

Morrison, who has worked on films such as “Thor: Love and Thunder,” “Thor: Ragnarok” and Disney’s “Jungle Cruise,” has over 25 years of experience in visual effects. His work on “Ant-Man” landed him his BAFTA nod for best special visual effects, and “Thor: The Dark World” earned him a Saturn Award nomination.

In a statement to Variety, Morrison said, “The teams at DNEG have been at the forefront of visual effects for years, winning an unprecedented number of Academy Awards over the last decade and creating some truly imaginative and incredible work. I am absolutely thrilled to extend my partnership with the studio, and looking forward to continuing to create, collaborate and innovate on some of the world’s biggest shows.”

DNEG, founded in 1998 as Double Negative, is a British-based VFX house that has worked on blockbuster films such as “Spider-Man: Across the Spider-Verse” and “Fast X.” DNEG was most recently the sole VFX provider on Christopher Nolan’s “Oppenheimer.”

“I am proud to announce this new creative partnership agreement with Jake and heartily welcome this new association,” said Namit Malhotra, DNEG chairman and CEO. “DNEG has had the pleasure of working with Jake in his capacity as client-side supervisor on many big visual effects shows. I have long admired his outstanding creative leadership. Our new partnership will allow DNEG to take advantage of new and untapped opportunities and will provide Jake with preferential access and a close working relationship with some of the best visual effects teams in the business here at DNEG. I look forward to leveraging this new partnership as we plan for the rest of 2023 and beyond.”

Morrison’s work in the world of VFX has meant he has worked with the company several times before. He expressed delight at joining DNEG in a new capacity saying, “This extension of my relationship with them opens the possibilities of working in even closer creative collaboration with DNEG VFX teams designing, visualizing, shooting and crafting never-before-seen visual effects sequences for interesting and diverse filmmakers is what we all show up to work for, and to be able to do this in cahoots with the world-class teams at DNEG feels like the perfect fit for me.”

Source link

BAFTA-nominated visual effects supervisor Jake Morrison has




In this week’s MarvelBlog News, Marvel finally faces accountability for mistreating some of its workers.

Another Union Fight Brewing???

Source: Marvel Studios

In July 2022, Vulture ran with a story that included a provocative quote.

The author of the article quoted a virtual effects (VFX) artist as saying, “I’m a VFX Artist, and I’m Tired of Getting ‘Pixel-F–ked.”

This worker complained that Marvel demanded far too much of its VFX crew. In case you missed the quotes at the time, here’s the gist:

Source: Marvel Studios

“It’s pretty well known and even darkly joked about across all the visual-effects houses that working on Marvel shows is really hard.

“When I worked on one movie, it was almost six months of overtime every day.

“I was working seven days a week, averaging 64 hours a week on a good week. Marvel genuinely works you really hard.”

Source: Marvel Studios

In the aftermath of this report, Marvel faced harsh criticism with the VFX industry.

Later, when projects like Ant-Man and the Wasp: Quantumania and She-Hulk experienced criticism regarding their special effects, a shake-up was necessary.

Marvel fired one of its longest-tenured executives, Victoria Alonso. Not coincidentally, she held the title of President of VFX.

Victoria Alonso Thor Love and Thunder Interview

Image: Marvel Studios

So, Disney threw Alonso under the bus for a series of mistakes during her tenure.

Realistically, fans recognized the real problem, though. The Walt Disney Company’s new CEO, Bob Chapek, had demanded more comic book content.

Simultaneously, the pandemic disrupted the production schedule and prevented workers from heading to the office.

Source: Marvel Studios

This fundamental change in behavior caused a backlog of work, thereby leading to Marvel overworking its VFX people.

Morale tanked, work quality fell dramatically, and the onscreen product suffered.

Source: Marvel Studios

Recently, we learned that Marvel wasn’t paying these people overtime, either.

So, the studio faces another union battle as Hollywood’s writers and actors strike. Here’s why…

VFX Workers Vote to Unionize

Source: Marvel Studios

Here’s the crux of what’s happening, according to IGN:

“Over 50 VFX workers at Marvel voted to file for a union election at the National Labor Relations Board to be represented by the International Alliance of Theatrical Stage Employees (IATSE)…”

Mark Patch, one of the organizers, explained the rationale:

Wembymania comes to the Quantum Realm

Image: Marvel

“These are companies which are making billions of dollars off of our work, so the reasonableness of our demands – asking just to be put on the same deal as the people working alongside of us and be given access to health care and a pension fund and the basic protections of work – we feel that this is one of the most reasonable demands that anyone’s ever made…”

Before you argue the point, I’ll add a few contributing factors. For starters, Marvel apparently doesn’t pay its animators overtime.

Father and daughter encounter the oddities of the Quantum Realm

Image: Marvel

Patch indicates that VFX workers get paid weekly, and their wages don’t change, even when they work more than 40 hours.

You can already see where this is going. Whether someone works an eight-hour day or the more likely 12-18 hours daily, you earn the same money.

Scott and Cassie wonder why the CGI is so fake

Image: Marvel

A different VFX professional adds:

“If we work seven days or 14 days, or whatever it is, straight, we don’t get that time and a half, double time all that next week. Our clock restarts.”

Scott and Cassie share a tender moment

Image: Marvel

I’d vote to unionize as well.

This is yet another headache that Marvel doesn’t need, but it’s a problem of their own creation.

Marvel didn’t treat its VFX crew well. Now, this vote reflects the consequences of those actions.

The Echo Weirdness

Source: Marvel Studios

Disney held its fiscal third quarter 2023 earnings call.

During the discussion, the company provided a few graphics to show its commitment to theatrical releases and streaming content.

One of the pictures revealed the upcoming schedule for Disney+ and Hulu content. And there was a surprise.

Maya and Kazi

Photo: Disney+

While Disney listed Loki season two as coming on October 6th, something we already know, an unlisted title became a hot topic.

This Disney press release in the form of a graphic made no mention of Echo, the upcoming Disney+ series that’s a spinoff of Hawkeye.

Source: Marvel Studios

I’ve previously mentioned the struggles that this title has faced during its filming, but its absence on the release schedule was still a surprise.

In writing about this on MickeyBlog, I described a possible explanation.

Source: Marvel Studios

Disney may have decided to hold this project until 2024, a time when the actor and writer strikes in Hollywood will cause content shortages.

Still, even that explanation doesn’t make a lot of sense. After all, Marvel had only recently confirmed a release date for Echo.

Why would Disney+ pull something from the schedule it only announced ten weeks ago?

Source: Marvel

Some folks believe Disney merely forgot to include Echo, which isn’t great news in and of itself.

Still, presuming they’re correct, the instantly forgettable Echo should still debut on Disney+ on November 29th. If it doesn’t, I promise to update you.

Marvel Miscellany

Spider-Woman #1

Spider-Woman #1. Photo: Marvel Comics

We’ve got a few more items to cover quickly.

First, Sydney Sweeney has confirmed the speculation about her character in Madame Web. She is playing the Julia Carpenter version of Spider-Woman.

Source: Fox/ Marvel

Also, circling back to Disney displaying its upcoming release schedule, that graphic also made no mention of Deadpool 3.

As a reminder, that film had entered principal photography when the actors started striking.

You can (technically) shoot a movie without a writer. What you cannot do is make one without actors.

Source: @VancityReynolds

So, the presumption is that Deadpool 3 already possessed an aggressive release date, given that it was filming this summer. Now, it’s likely been delayed.

Disney also learned from its Secret Invasion mistake. The company went ahead and confirmed that the six episodes of Loki season two cost $141.3 million.

Loki and Mobius take in the sights at a Victorian Era World's Fair

Image: Marvel

While that sounds like a lot, it’s more than $70 million less than Secret Invasion.

Meanwhile, Nia DaCosta, the director for The Marvels, recently described the film as “wacky and silly.”

Ms. Marvel is NOT a fan of Goose in The Marvels

Image: Marvel

She apparently wanted to combat superhero fatigue by bringing the funny. And I love her for that!

Finally, Groot season two is right around the corner…and I’ve got a trailer to prove it!

 

 

 

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

Featured image: Marvel




Source link

Summary

  • James Gunn reveals that there will be no updates on the Waller series any time soon.
  • Gunn dismisses criticism regarding Jennifer Holland’s role as Emilia Harcourt, debunking theories that he is favoring his wife in the DC projects.
  • The Waller series will focus on Amanda Waller’s activities in the new DC Universe, potentially showcasing her control over both the Suicide Squad and the Justice Society, amplifying her power.


No updates on the new DC Universe’s Chapter 1 Suicide Squad spin-off, Waller, are to be expected any time soon, according to James Gunn. Before becoming DC’s creative chief, Gunn was the writer and director of 2021’s The Suicide Squad. Characters from the movie will come back in the rebooted DC Universe, with the announcement of John Cena’s Peacemaker season 2 and that members of Peacemaker’s team will show up in the Waller series on Max, which will see Viola Davis return as Amanda Waller.

On Threads, Gunn was asked by a fan for a Waller update, and Gunn revealed that will not happen any time soon.

Another fan commented, “Don’t expect that during the writing and acting strikes,” with Gunn echoing that message by using a pointing emoji. The Writers Guild of America and SAG-AFTRA strikes have led to several movies and shows being delayed, and with no end in sight, it is hard to imagine when work on Waller will be resumed.


James Gunn Hits Back At Emilia Harcourt Criticism

Jennifer Holland as Harcourt in Peacemaker

In another reply on Threads, Gunn hit back at a user’s criticism regarding Jennifer Holland’s Emilia Harcourt.

James Gunn confirms Waller will come before Peacemaker season 2, invalidating a Threads user's theory regarding Harcourt.

Gunn and Holland, who are married, have had to endure constant unsavory comments from those who believe Harcourt’s growing role across DC projects is related to the actress’ personal connection to Gunn. The DC Universe’s creative chief responded with a “Yes” and an eye-roll emoji in agreement with another user who pointed out the hole in the theory regarding Gunn’s alleged plans of favoring Harcourt at DC.

The original user believes that Gunn is “destroying the legacy of amanda waller just for [his] wife.” According to the user’s theory, Gunn intends to phase out Amanda Waller in the comics, later replacing Davis’ role as the character in DC’s movies with Holland’s Harcourt. However, there is a clear issue with that theory, with another user pointing it out by saying, “isn’t a waller max series scheduled to premiere before peacemaker season 2?” Which Gunn then reconfirmed is the case.

Harcourt could make an appearance alongside other characters from Peacemaker in the Waller series, but the show will focus on what Davis’ Amanda Waller is up to in the new DC Universe. Both characters should be working together in the show, with Harcourt’s Justice Society tease in Shazam! Fury of the Gods‘ post-credits scene, with her and John Economos recruiting the hero for the team, working in Amanda Waller’s favor, as she is Harcourt and Economos’ boss. When Davis returns in Waller, it is possible that her character will control the Suicide Squad and the Justice Society, making Amanda Waller more powerful than ever before.

Source: James Gunn & James Gunn/Threads

Key Release Dates

Source link

Summary James Gunn reveals that

August 2023’s PlayStation Plus Game Catalogue and Classics titles have been made available to subscribers.

Unlike August’s PlayStation Plus Essential games, Game Catalogue’s downloadable PS4 and PS5 titles are only available for Extra and Premium tier members.

This month’s new releases, which are listed below, include Lost Judgment, Sea of Stars, Cursed to Golf and Moving Out 2.

PlayStation Plus Premium subscribers can also access the Classics Catalogue, which includes hundreds of games from the original PlayStation, PS2, PS3 and PSP.

August’s additions to the Classics Catalogue are MediEvil: Resurrection, Ape Escape: On the Loose and Pursuit Force: Extreme Justice.

All the games listed below will be available to claim today, with the exception of Sea of Stars, which will be released on August 29.


PlayStation Plus Extra and Premium | Game Catalogue
  • Sea of Stars – PS4, PS5
  • Moving Out 2 – PS4, PS5
  • Destiny 2: The Witch Queen – PS4, PS5
  • Lost Judgment – PS4, PS5
  • Destroy All Humans 2 Reprobed – PS4, PS5
  • Two Point Hospital: Jumbo Edition – PS4
  • Source of Madness – PS4, PS5
  • Cursed to Golf – PS4, PS5
  • Dreams – PS4
  • PJ Masks: Heroes of the Night – PS4, PS5
  • Hotel Transylvania: Scary-Tale Adventures – PS4, PS5
  • Lawn Mowing Simulator: Landmark Edition – PS4, PS5
  • Spellforce III Reforced – PS4
  • Midnight Fight Express – PS4
PlayStation Plus Premium | Classics
  • MediEvil: Resurrection (PSP)
  • Ape Escape: On the Loose (PSP)
  • Pursuit Force: Extreme Justice (PSP)

Sony is currently testing cloud streaming for PS5 games, a feature which will be offered to PlayStation Plus Premium subscribers when it launches.

PlayStation boss Jim Ryan recently said he doesn’t expect cloud gaming to represent a major part of the company’s business until 2025 at the earliest.