*Fact: third party industry is now smaller in quantity of IP and even moreso in terms of considered market power.*
Fact: Microsoft first party is now bigger in quantity and still available across all platforms. New games from ABK may give MS the advantage they need to now compete against Sony.
*Fact: Internal FPS now compete with the biggest shooter on the market for players, sales, and release dates.*
How is that even a bad thing?? “Oh no, we have to compete against the number one shooter that my company owns!” How did Halo or any other FPS survive before when CoD was out there and third party?
*And Days Gone 2 wasn’t greenlit because of nothing to do with profit potential in comparison to other IPs*
Hot damn that reach! Yeah because Days Gone is definitely a powerhouse IP like Halo right? You tell me right now if MS were to announce Infinity Ward is developing (or even co-developing) the next Halo, that wouldn’t send the gaming industry/media in a drop of blood in the ocean feeding frenzy.
@KicknSnare *Microsoft should let id Software or Call of Duty studio take over the Halo franchise. Let 343 work on a new IP*
That would be, interesting. I definitely agree with 343 working on something new
@Markdn *Your delusional m8 if you think you benifit from this. A typical lamb.*
How will I not personally benefit from it then? Please enlighten me.
Christopher Nolan took the opportunity to cast his daughter in a cameo for Oppenheimer and the film’s director is opening up as to how that came about.
“We needed someone to do that small part of a somewhat experimental and spontaneous sequence,” Nolan told The Telegraph during a recent interview. “So it was wonderful to just have her sort of roll with it.”
Flora Nolan is credited on IMDB as “Burn Victim” for her work on Oppenheimer. The outlet describes the nameless character as a “young woman who appears to the title character in a hellish, conscience-pricking vision, in which the flesh is flayed from her face by a piercing white light.”
While talking about Flora’s role, Nolan noted that he didn’t want to “make me sound like Michael Powell on Peeping Tom.” Nolan was referencing the 1960 film that Powell directed where he cast his own nine-year-old son as the child version of the serial killer.
Nolan continued, “But yes, I mean, gosh, you’re not wrong. Truthfully, I try not to analyze my own intentions. But the point is that if you create the ultimate destructive power it will also destroy those who are near and dear to you. So I suppose this was my way of expressing that in what, to me, were the strongest possible terms.”
Flora is also previously credited as “Girl on Truck” in Nolan’s film Interstellar. She is currently a student at the New York University Tisch School of Arts.
There are only six episodes left of Riverdale’s seventh and final season — and while we’re desperate to find out whether we’re ever returning to the present-day timeline of the show, and if the events of this season are even real, the biggest question on our minds is actually this: who will end up with whom? Romance has always been a big part of Riverdale, and it’s probably fair to say that shippers of various pairings make up a significant portion of the show’s fandom. But the endgame couples, at this point, are anyone’s guess. Cheryl Blossom (Madelaine Petsch) and Toni Topaz (Vanessa Morgan), aka Choni, seem like a solid bet, but as for the core four of Archie (KJ Apa), Betty (Lili Reinhart), Veronica (Camila Mendes), and Jughead (Cole Sprouse), we’re at a loss.
The series has been long-ruled by the powerhouse ships of Barchie (Betty and Archie), Varchie (Veronica and Archie), and Bughead (Betty and Jughead), but this season has teased new connections, like Veronica and Jughead and Betty and Reggie (Charles Melton). But perhaps it was all an elaborate ruse to distract from the real endgame: Betty and Veronica, or as they’re affectionately known by fans, Beronica. In recent episodes, an arc between the two girls was set up, establishing that they — or at least the 1950s, age-regressed, amnesiac versions of themselves — have feelings for each other and are swearing off Archie for good. There are so many options that we’re spoiled for choice, but we hope out of all the possibilities, Beronica is the one that sticks. After everything they’ve been through, Betty and Veronica deserve to get their happily ever after, and nobody is better suited to them than they are with each other.
Beronica Is One of the Best — And Most Important — ‘Riverdale’ Dynamics
Image via The CW
The dynamic between “good girl” Betty and “bad girl” Veronica has forever been the heart and soul of Riverdale. The two consistently disprove preconceived notions that they shouldn’t get along, and that Archie will inevitably get in the way of their friendship; they support each other unconditionally and value their relationship above everything else. Yes, everyone on Riverdale has made awful decisions and has been terrible to one another at some point; Betty and Veronica have certainly had their ups and downs, but they also have an unbreakable bond and a genuine love between them.
The evolution from this friendship into romance feels like a natural progression, and actresses Lili Reinhart and Camila Mendes — who have continuously sold the material on Riverdale, no matter how goofy — have some of the best chemistry in the cast. Their scenes are perpetually a highlight, but in later seasons, many people feel that the partnership between Beronica has been neglected, underdeveloped, and underutilized. We’re loving how much they’re sharing the screen together in Season 7, even more so now that the series is beginning to take their connection more seriously.
A Beronica Endgame Is a Feminist Twist That Subverts Predictable Tropes
Image via The CW
Let’s be real: love triangles haven’t been compelling in about ten years, particularly ones where two girls compete for the affection of one guy. After seeing Veronica and Betty be pitted against each other for six seasons, it would be a much-welcomed twist to see them find love with one another instead. As of the show’s latest episode, Archie seems to be focusing on his own self-discovery anyway, so it would make sense to cap his storyline off with him still single, but having found himself in the process. After entertaining Beronica for the first time, it would feel a little regressive for the series to backtrack and conclude with Archie “picking” one of the two girls, leaving the other heartbroken. A Beronica endgame instead would be surprising and memorable for all the right reasons.
Sexuality and sexual liberation is a key theme in Season 7 of Riverdale, so it makes sense that Betty and Veronica are only now starting to explore their queerness. Besides, in a show known for its random, nonsensical, and outlandish plots, this would by far be one of its more realistic “plot twists.” There’s no reason why Cheryl, Toni, and Kevin Keller (Casey Cott) have to be the only main LGBTQIA+ characters. As for Jughead, he’s had limited romantic entanglement this season, so it would be interesting to see if Riverdale goes down the route of the comics, which confirmed the character to be asexual in 2016. Previously, he was involved with Tabitha (Erinn Westbrook), who’s been MIA for most of this season.
Sorry, Shippers — Barchie, Varchie, and Bughead Are Boring Now
Image via The CW
Barchie, Varchie, and Bughead still have big fanbases, so it’s impossible for the show to make everyone happy — but they’ve previously enjoyed significant stretches of their ships being canon, and honestly, all three duos feel stale now. Riverdale has a habit of going round in circles with its romances, and we feel like we’ve seen enough of Barchie’s will-they-won’t-they and Varchie and Bughead’s on-again-off-again sagas to last a lifetime. A Beronica endgame would definitely please viewers who have rooted for them since their flirtatious friendship in the early seasons, which commenced when they shared a kiss during a cheerleading routine in the show’s pilot. The ship feels fun and new, which is in the spirit of a series that’s constantly trying different things and never takes itself too seriously.
Knowing Riverdale, a lot could happen between now and the finale, and we find it hard to believe that they’re done exploring all potential romantic pairings. You could tell us that the endgame ships are Reggie and Archie or a Betty, Veronica, and Jughead throuple, and we wouldn’t be fazed. Maybe this season is all just a big dream, and none of it will matter in the end; who can say whether we’ll ever see our heroes’ contemporary adult counterparts again? Deep down, we know that the best way to enjoy Riverdale is to abandon all shipping attachments and buckle up for the absurd, bizarre ride. But despite it all, we’re embarrassingly invested in these characters, especially Betty and Veronica, and we can’t think of a more fitting ending for them than with each other.
The cast of Disney’s “Haunted Mansion” were only at their premiere in spirit. Following the breakout of the SAG-AFTRA strike, the stars of the film skipped out on the Saturday night premiere for the theme park film adaptation
The movie, the second adaptation of Disney’s iconic Haunted Mansion attraction after the 2003 Eddie Murphy film, stars a large ensemble cast that includes LaKeith Stanfield, Tiffany Haddish, Danny DeVito, Rosario Dawson, Jamie Lee Curtis, Winona Ryder, Dan Levy, Hasan Minhaj, Chase W. Dillon, Marilu Henner, and Lindsay Lamb. None of the actors attended the red carpet at Disneyland in Anaheim, according to Variety. Under the terms of the SAG-AFTRA strike, which began on Thursday, guild members are not able to take part in press junkets or promotional duties for studio films they are in while the guild is in a work stoppage.
Instead, the carpet — which took place at the Hyperion Theater in the park’s Disney California Adventure area — featured costumed performers dressed as classic Disney villains like the Evil Queen, Maleficent, and Cruella de Vil, and well as Minnie and Mickey Mouse. According to Variety, Disney likely went on with the premiere due to revenue from corporate sponsors like State Farm, Zillow, New Orleans & Company and Michael’s.
One significant guest who did show to the premiere is Justin Simien, the film’s director. In an interview with Variety he said he was “sad” the cast couldn’t attend, but supports the walkout. Before the screening in the theater began, Simien joked that “Obviously, we’re here at a weird time in the industry. There’s some folks that aren’t here. Of course, I’m referring to the multiple walkouts on ‘RuPaul’s Drag Race All Stars,’” before shouting out the cast for their work on the film.
Dawson spoke to Variety on Friday while picketing the Warner Bros. lot at Burbank. Talking about the premiere going forward, Dawson said “It only gives more visibility to what we’re trying to talk about here and negotiate here. People don’t want to take off from work, but they’re willing to in order to push for justice in this space.”
The “Haunted Mansion” premiere comes shortly after Disney CEO Bob Iger made controversial remarks about the ongoing WGA and SAG-AFTRA strikes, calling the union’s demands “not realistic” and “very disturbing.” In his interview with Variety, Simien spoke about Iger’s statements, saying that “I would really love to sit down with him and talk. I don’t if how he meant it is how it felt to me.”
He continued, “I would love to talk to him about the reality that we all face as artists to make the impossible happen every day.”
“Haunted Mansion,” which releases in theaters July 28, is one of many Hollywood films to adapt their premieres in response to the SAG-AFTRA strike. Universal canceled the red carpet for “Oppenheimer’s” New York premiere on July 17, after the cast left the carpet during the UK premiere on Thursday. Apple’s “The Beanie Bubble” and Paramount’s “Special Opps: Lioness” have also canceled their premieres.
Joe gets into more trouble than he expected. Has the Joe Pickett TV show been cancelled or renewed for a third season on Paramount+? The television vulture is watching all the latest cancellation and renewal news, so this page is the place to track the status of Joe Pickett, season three. Bookmark it, or subscribe for the latest updates. Remember, the television vulture is watching your shows. Are you?
What’s This TV Show About?
A Western crime drama series streaming on the Paramount+ subscription service, the Joe Pickett TV series stars Michael Dorman, Julianna Guill, Skywalker Hughes, Kamryn Pliva, Vivienne Guynn, Chad Rock, Aadila Dosani, Sharon Lawrence, Paul Sparks, Mustafa Speaks, and Patrick Gallagher. Set in Wyoming, the story centers on Joe Pickett (Dorman), a committed game warden who lives in the small town of Saddlestring and the surrounding wilderness of Yellowstone National Park. He and his family grapple with the ever-changing socio-political dynamics of their financially-challenged small country town. In season two, Joe discovers a hunter murdered in the mountains and realizes this is just one of a series of gruesome murders. To solve the case and catch the killer, Joe must navigate a radical anti-hunting activist, a ghoulish set of twins living off the grid, and his own tortured past. Joe and his wife, Marybeth (Guill), discover that the murdered men aren’t as innocent as they seem. But when they dig too deep, the Picketts are forced to go on the run and fight for their lives.
O F F I C I A L S T A T U S
As of July 17, 2023, Joe Pickett has not been cancelled or renewed for a third season. Stay tuned for further updates.
Telly’s Take
Unless they decide to publicize viewership, it is difficult to predict whether Paramount+ will cancel or renew Joe Pickett for season three. The series began as a Spectrum Original and was renewed for a second season by that streaming service. Paramount+ was already streaming the first season when Spectrum got out of the original series business, so Paramount+ picked up the unaired second season. It’s unclear if Paramount+ would have renewed Joe Pickett for a second season had the series been one of its own original productions. As most streaming services are cutting costs, I think Joe Pickett will likely be cancelled and not renewed for a third year. I’ll keep my ears open, watch for news, and update this page with breaking developments. Subscribe for free alerts on Joe Pickett cancellation or renewal news.
Joe Pickett Cancellation & Renewal Related Links
What do you think? Do you hope the Joe Pickett TV show will be renewed for a third season? How would you feel if Paramount+ cancelled this TV series instead?
Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.
EXCLUSIVE: As indie producers and financiers in Hollywood and beyond wait on tenterhooks for waivers from SAG-AFTRA — letting them continue with their projects despite the strike — some are starting to get a green-light.
One confirmation letter sent out in lieu of an actual waiver, which aren’t quiet ready yet, notes that the “interim agreement” will include the terms of the last SAG-AFTRA counter in negotiations — including an 11% wage increase to the minimum rates from the 2020 Theatrical/Television Agreement [we hear it could be less than 11% under low budget film agreements].
Upcoming indie filmBride Hard, due to star Rebel Wilson, and at least a half dozen other movies now have permission to move ahead [waivers largely apply to film, given that most U.S. series involve a studio], and the flow of so-called “non-interference agreements”, and ultimately waivers/interim agreements, is set to intensify in coming weeks for projects with no connection to a studio or streamer.
It’s been a complex process, many say. There’s little recent precedent for a waiver template given that the last SAG strike for theatrical and TV actors was in the 80’s. The guild’s website promised weeks ago that when a strike was authorized, waivers would be granted, but it didn’t disclose terms, how, or when. Things are now speeding up with waivers — or, more specifically, equivalent letters certifying that one is on the way. Typical procedure would be for a producer to sign an agreement directly. But for now they can move ahead if they promise to confirm they will abide by its terms when it becomes available.
It’s a sensitive topic. Over the weekend, in a now deleted tweet, a crew member working on upcoming Simon West action-comedy Bride Hard posted that the film had been granted permission by SAG-AFRA to continue filming in the U.S. via an interim agreement. “Very grateful to SAG-AFTRA for clearing BRIDE HARD to continue production in Savannah. We are an independently financed, independently produced feature film with no studio or connection to the AMPTP. Thanks to the SAG-AFTRA Interim Agreement, productions like ours can continue,” read the scrubbed tweet.
We’ve confirmed the same update from another source on the movie — making it the first known film or TV project to be granted a waiver. We’ve reached out to SAG-AFRA for confirmation and any official update on the number of waivers it might grant in coming days.
The agreements are being granted to “truly independent producers” as long as they are not affiliated with the Alliance of Motion Picture and Television Producers and agree to be bound retroactively to whatever contract terms eventually are achieved with the AMPTP when the strike is settled.
There remain a number of questions, however, which mean the path to production won’t be straightforward. Among them: will actors want to take part in a project that gets a waiver when many other actors are unable or unwilling to work? That’s a risk that still has completion bond firms nervous even for films with waivers. Another risk — for productions in the U.S. — is if the WGA pickets SAG-AFTRA-waived projects, and Teamsters refuse to cross the lines. Will eligible producers crack on or will such a move be deemed too complicated and/or optically unpalatable?
Just qualifying for waiver consideration is complicated, not least due to pre-sale distribution deals that may have been signed with a streamer or studio in certain territories. Could those deals be jettisoned?
Some of those sending in applications for waivers are for sizeable projects with A-list actors aboard, also complicating SAG’s approach to waivers. Does it dilute a strike if a number of big productions get a waiver? Or conversely, does it sock it to the studios if business continues without them?
To help members traverse its labyrinth of struck and not-struck contracts, the guild has put out electronic flyers showing members which contracts they can and cannot work under.
Once again, Taylor Swift has summited the Billboard 200 albums chart, as Billboard reports. Her 12th No. 1 LP—the recently-released Speak Now (Taylor’s Version)—sets a new record for Swift: she now holds the most No. 1 albums for any female artist in history, besting Barbra Streisand for the accolade. The two artists were previously tied with 11 No. 1s each. Speak Now (Taylor’s Version) also debuted on the Billboard 200 with the year’s biggest week for any album.
The re-recorded edition of 2010’s Speak Now, Swift’s third studio album, climbed to the No. 1 position less than one year after Swift’s 2022 LP Midnightspeaked on the chart. In addition to releasing another chart-topping album, Swift has become the first living artist to have four albums in the top 10 at the same time since 1966; she is the first-ever female artist to secure four spots in the top 10, period. At present, Folklore, Lover, Midnights, and of course, Speak Now (Taylor’s Version), are all populating the top 10 of the Billboard 200.
Speak Now (Taylor’s Version) debuted with 716,000 equivalent album units in the U.S. in the week ending July 13, according to Luminate. Over 500,000 of those units were in traditional album sales. Both of Swift’s prior re-recorded albums—Red(Taylor’s Version) and Fearless (Taylor’s Version), also debuted at No. 1 on the Billboard 200.
Swift is currently on her Eras Tour, which she recently extended to stretch into 2024.
Cinematography, that alluring art form, has an uncanny ability to whisk audiences away on a visual journey, immersing them in the very essence of storytelling. Much like an exhilarating high-stakes gamble, each shot is a strategic wager that can either hit the jackpot or falter.
Today, we embark on an exploration of the parallels between the captivating world of cinematography and the thrilling realm of gambling. Prepare to witness the risks, rewards, and techniques employed by cinematographers as they conjure spellbinding imagery that etches itself into our collective memory.
The Gamble of Composition and Framing
Just as a seasoned gambler calculates the odds at the best online casinos Canada or any other country has got to offer, a cinematographer delves deep into the realms of composition and framing. Carefully arranging actors, props, and elements within the frame, they forge visually striking and meaningful images. Like a shrewd bettor surveying the playing field, the cinematographer meticulously studies the visual elements at their disposal.
Each decision on camera placement, subject framing, and angle selection carries the potential to either elevate the storytelling or languish in visual mediocrity. It is within these choices that the cinematographer, like a gambler, takes a calculated leap of faith, hoping to strike gold and create an indelible impact.
Lighting: A Roll of the Dice
Lighting, a quintessential facet of cinematography, is reminiscent of the suspenseful roll of the dice, dictating the outcome of a wager. Through artful manipulation of light, cinematographers conjure mood, ambiance, and emphasis within a scene. The delicate interplay of illumination and shadow has the power to transform a mundane setting into an awe-inspiring masterpiece.
Not unlike a gambler reliant on fortune to roll a favorable number, cinematographers navigate the unpredictable realm of natural and artificial light sources. They tread the fine line of calculated risks, striving to achieve their desired aesthetic. The choice of lighting style can evoke emotions, build tension, or highlight key elements—much akin to the breathless anticipation that accompanies the descent of dice upon the gaming table.
Color Grading: Playing with the House Advantage
Color grading, the final brushstroke of the cinematographer, echoes the gambler’s deft manipulation of the house advantage. It is the art of crafting mood and atmosphere through the skillful adjustment of colors. Cinematographers deftly employ color grading to enhance the narrative, evoke emotions, and establish visual continuity throughout a film.
As the gambler strategically places bets to gain an upper hand, the cinematographer meticulously selects color palettes, tones, and hues to intensify the impact of a scene. Each choice is a calculated maneuver, amplifying the visual impact and ensuring an indelible experience for the audience. From vibrant, saturated hues to somber, desaturated tones, the cinematographer deftly plays with color, elevating the visual narrative to captivating heights.
Camera Movement: Riding the Wave of Uncertainty
Camera movement, a mesmerizing component of cinematography, mirrors the unpredictable thrill of gambling. Be it fluid tracking shots or gritty handheld sequences, each movement contributes to the tapestry of visual storytelling. Cinematographers embrace the art of taking risks, dynamically immersing the audience in the heart of the action.
Yet, they also recognize the power of restraint, utilizing static shots to build tension or draw focus to subtle details. Much like the gambler deliberating over a daring bet or a strategic fold, the cinematographer gauges the scene’s demands, making calculated choices to amplify the narrative. A skillfully executed camera movement can breathe life into the frames, fostering engagement and depth. However, a misstep in execution may dilute the scene’s impact, akin to a gambler’s untimely misjudgment.
The Jackpot: Immersive Visual Storytelling
When the realms of cinematography and gambling flawlessly converge, they manifest as immersive visual storytelling experiences that leave an indelible impact on audiences. Comparable to triumphing at the gambling table, a meticulously crafted work of cinematography elevates a film to uncharted heights.
It possesses the profound ability to transport viewers to alternate realities, evoke profound emotions, and deliver an unforgettable cinematic voyage. The seamless fusion of composition, lighting, color grading, and camera movement intertwines seamlessly with the narrative, intensifying its impact and weaving an enchanting tapestry. With every deft stroke, the cinematographer, akin to a master gambler, embraces risks, pushes boundaries, and astounds audiences with their artistic finesse.
Conclusion
Cinematography, much like gambling, necessitates a delicate balance of calculated risks, strategic choices, and an unyielding anticipation for the rewarding outcome. From composition and framing to lighting, color grading, and camera movement, cinematographers navigate a visual realm that echoes the exhilarating unpredictability of the gambling world. Through their extraordinary craftsmanship, they forge cinematic experiences that encapsulate the essence of storytelling, mesmerizing audiences and leaving them yearning for more.
The superstar is the first living artist in nearly 60 years to have at least four albums at the same time in the top 10 on Billboard’s 200 chart. Midnights, Lover and Folklore join Swift’s newest album on the chart, where it sits at No. 1.
The only other living artist to do so was Herb Alpert in 1966 with his albums Going Places, Whipped Cream & Other Delights, South of the Border and The Lonely Bull, according to Billboard. Following Prince’s death in 2016, the star had five albums in the top 10 — The Very Best of Prince, Purple Rain, The Hits/The B-Sides, Ultimate and 1999.
Speak Now (Taylor’s Version)marked Swift’s 12th No. 1 album on Billboard’s chart and her third re-recorded and re-released album, which includes hits like “Mine,” “Dear John,” “Back to December” and “Ours.”
The Grammy-winning artist took to social media to celebrate the album’s release on July 7, writing, “It’s here. It’s yours, it’s mine, it’s ours. It’s an album I wrote alone about the whims, fantasies, heartaches, dramas and tragedies I lived out as a young woman between 18 and 20.”
She continued, “I remember making tracklist after tracklist, obsessing over the right way to tell the story. I had to be ruthless with my choices, and I left behind some songs I am still unfailingly proud of now. Therefore, you have 6 From The Vault tracks! I recorded this album when I was 32 (and still growing up, now) and the memories it brought back filled me with nostalgia and appreciation. For life, for you, for the fact that I get to reclaim my work. Thank you a million times, for the memories that break our fall.”
On Saturday night, Donald Trump delivered a speech at the annual conference for the right wing young Republican nonprofit Turning Point USA, and it was… a lot. And on Sunday morning, MSNBC’s Ali Velshi warned that in the speech Trump “was basically openly plotting how he’s going to weaponize the government.”
“We are dangerously close to Donald Trump rising to power again, and finishing what he started when he tried to overturn the results of the last presidential election,” Velshi said also.
“We do not typically air Donald Trump’s speeches live, and on this show we are judicious about even clips from his rallies and always either with, or for, the proper conduct or discussion,” Velshi said.
“That’s because Donald Trump lies so frequently. We all learned on January 6 that those lies can fuel very real violence. We’ve also learned that the sting from the poison of Trump’s lies gets duller the more frequently you’re exposed to it. But as journalists, we also have a duty to bear witness when our nation is in peril, to shine a light on the dark path that Donald Trump and his allies and enablers take us down,” he said.
“And that is the moment at which we find ourselves this morning,” Velshi continued, turning to the topic of Trump’s speech the night before. “I’ll admit to being a little surprised, late last night, that anything Donald Trump can say can surprise me anymore, but this is some nasty stuff. Last night speech was dangerous for the truths that Donald Trump told as it was for the lies. And there were lies, to be sure.”
“But the truth is that we are dangerously close to Donald Trump rising to power again, and finishing what he started when he tried to overturn the results of the last presidential election and take over the government in contravention of the will of the American people. And if you listen closely to his 99 minute speech from last night, he was basically openly plotting how he’s going to weaponize the government, by cleaning house and firing anyone that his administration considers an enemy or insufficiently loyal to Trump self serving agenda.
In a land far, far away from Scary Island and the Berserk-shires, Luann de Lesseps and Sonja Morgan are being put to work. In Bravo’s latest spinoff series, Luann and Sonja: Welcome to Crappie Lake, the Real Housewives of New York City stars are packing their designer bags and jetting off to Benton, Illinois, where they are tasked with rehabbing the small, midwestern town.Aside from laborious jobs bestowed upon them by the mayor, the show — which is reminiscent of Simple Life and Schitt’s Creek — hilariously captures all the hijinks (and flirting) that are sure to follow these beloved reality stars wherever they go.
The film, which was directed by Christopher Nolan, stars Cillian Murphy as J. Robert Oppenheimer, the American scientist credited with creating and developing the atomic bomb.
“Cillian had such a monumental undertaking,” Emily shared. “And he could only eat, like, an almond every day.”
“He was so emaciated,” Emily added.
“The sheer volume of work that he had, and the level of detail that Christopher [Nolan] demands,” Matt said. “There was always something for him to be thinking about. There was something coming down the pike.”
Oppenheimer’s diet, Cillian recently told IndieWire, consisted of “cigarettes and pipes — he would alternate between the two.”
“I don’t want it to be, ‘Cillian lost x weight for the part.’ I love acting with my body, and Oppenheimer had a very distinct physicality and silhouette, which I wanted to get right. I had to lose quite a bit of weight, and we worked with the costume and tailoring; he was very slim, almost emaciated, existed on martinis and cigarettes.”
Wow. You can watch Emily and Matt’s Extra interview here, and read Cillian’s IndieWire interview here.
Nicolas Cage has cancelled attendance at Montreal’s Fantasia Film Festival, North America’s biggest genre festival, where he was expected next weekend on July 22 for the world premiere of director Yuval Adler’s “Sympathy for the Devil,” where he was due to pick up Fantasia’s Cheval Noir career achievement award.
“We’re sad to announce that due to the SAG-AFTRA strike, Nicolas Cage will no longer be able to attend the festival next weekend,” Fantasia has announced on its website.
“We’ll be updating our website regularly as we receive news from other announced guests while circumstances evolve. Our hearts are with the actors, as well as with the WGA, and we hope to see the unions get a fair deal soon,” the Festival added.
Following Thursday’s confirmation of the SAG strike, Judy Greer, star of “Aporia,” one of Fantasia’s other high profile premieres, did not appear to be available for interview by Variety. Greer is not on Fantasia’s guest list. In “Aporia,” she stars as a woman drowning in grief from the death of her husband in a drink-driving accident. “Aporia” is scheduled to world premiere at Fantasia on July 27.
The vast majority of actors on Fantasia’s guest list are Canadian. One question is whether foreign or non-SAG-AFTRA members will pull out from attending Fantasia out of support for SAG-AFTRA.
Fantasia is not, however, heavily star dependent. Cage’s cancellation will be a large disappointment for fandom at the Festival. But it’s no kind of knock out blow.
Most stars at Fantasia are its genre auteurs, such as this year cult Canadian collective RKSS which closes the festival with “We Are Zombies,” starring Megan Peta Hill, Alexandre Nachi and Derek Johns.
Fantasia Film Festival runs July 20 to Aug. 9. A large Frontières industry forum, packed out by the presentation of projects – led by their directors and producers with little cast attached – unspools July 26-29.
Throughout the history of the MCU, the President of the United States has often taken a back seat to the superpowered heroes that inhabit Earth.
The most prominent president in the MCU has been Matthew Ellis, who not only handled the Mandalorian threat but also pushed the Avengers into signing the Sokovia Accords.
Photo: MCU wiki
Ellis was succeeded by Donald Trump, who was referenced in a series of ABC Marvel shows.
Introducing President Ritson
For Secret Invasion, however, Marvel has introduced a Commander in Chief- President Ritson.
Portrayed by Dermot Mulroney, President Ritson finds himself tasked with running the country against the Skrull invasion.
Photo: Marvel
While Secret Invasion will mark President Ritson’s first onscreen appearance, the character has been mentioned in the MCU before. During the events on Black Panther: Wakanda Forever, the President was allegedly working on a new treaty between the United States and New Asgard.
Mulroney Was Unaware of Ritson’s Backstory
Although the President of the United States had a built-in backstory, according to Mulroney, he was unaware that Ritson had been mentioned before.
Photo: Marvel
“None — to the point that I’m only now, this moment, learning that Ritson had mentions in other films. That might have helped the sense of intimidation that I had about how many Marvel movies there were. I had lines learned before I’d been able to have time to watch all those movies and figure out where President Ritson fits into the Marvel Universe when somebody just could have told me, “Watch [these] movies,” and I’d have been fine. I can do movies, but I have to concentrate on figuring out the Marvel Universe at present. During that time, I couldn’t even figure that out.”
In the latest episode of Secret Invasion, the Super-Skrull Gravik was set on killing the President. He then wanted the blame to fall on the Russians.
Photo: Marvel
While he was ultimately saved by Nick Fury, there were certainly be geo-political ramifications for the attack on the President. Ritson will also have to deal with the revelation that Skrulls are on Earth.
What Ritson does next, may have huge implications for both Nicky Fury and the future of MCU. With Thunderbolt Ross set to become President for Captain America: Brave New World and Thunderbolts, the future of President Ritson is murky.
Harrison Ford will portray President Thunderbolt Ross. Photo Marvel
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A new spell is about to be cast. In news reported by The New York Times, Hayao Miyazaki will be creating a brand new Studio Ghibli movie. The last new Studio Ghibli movie, according to the publication. And one we are all excited to see take shape.
Studio Ghibli
The article offers us a glimpse at the film, saying:
Neither Miyazaki nor Suzuki will share much about the forthcoming film, beyond the fact that it is based on a 1937 novel by Genzaburo Yoshino. The story concerns a 15-year-old boy in Tokyo, small for his age and fond of mischief, whose father has recently died. In the English translation by Bruno Navasky, published in October, the boy gazes out at the city and is overwhelmed: “The watching self, the self being watched, and furthermore the self becoming conscious of all this, the self observing itself by itself, from afar, all those various selves overlapped in his heart, and suddenly he began to feel dizzy.”
The actual content of the film could be anything — Suzuki has described it as “fantasy on a grand scale” — since Miyazaki doesn’t so much borrow stories as liberate them from their origins. (In the pseudobiographical “The Wind Rises,” he gives the real-life Jiro Horikoshi a fictional wife dying of tuberculosis.) All Suzuki will share is that he recognizes himself in one of the characters, who is not human.
Studio Ghibli
Miyazaki’s works deal with many themes, popular among them coming-of-age narratives and discussions of nature vs. man. Fantasy always serves to heighten the aspects of reality that we can all understand. And, of course, incredibly intricate animation that soothes and moves us ties it all together. If this film will offer us something even grander than before, then it will truly astound.
Though the 1937 novel goes unnamed in the article, it appears Miyazaki will adapt How Do You Live? While this news appears to have released in some capacity at previous times, this feels like a formalization of intent. The book has long influenced Miyazaki, who cites it as his favorite childhood read.
The new Miyazaki movie, tentatively titled, How Do You Live, has also set its release date. It will arrive in Japan on July 14, 2023. In the US, the movie will be titled “The Boy and the Heron” and will arrive “later this year,” per its North American distributor GKids.
The movie released a poster in December 2022, but recently revealed that there would be no other images or trailers released to tease fans. We’ll be going into Miyazaki’s How Do You Live without any more information.
The new feature film from director Hayao Miyazaki and Studio Ghibli has been announced! HOW DO YOU LIVE (tentative title) opens in theaters in Japan on July 14, 2023. https://t.co/fHnLM6epTS
But will this truly be Miyazaki’s last film? Of course, Miyazaki has famously announced retirement before, only to return. Well, only time will tell. Miyazaki’s producer and partner Suzuki has only this insight, which the article shares. “In the West, we always need to know how things end. At Ghibli, the last scene is often a mystery.”
Russian authorities have begun to ban government employees from using Apple devices for official state use, according to the . As of Monday, the country’s trade ministry will prohibit the use of iPhones for all “work purposes.” Other agencies, including Russia’s telecommunications and mass media ministry, either have similar mandates already in place or plan to begin enforcing ones soon. The Times reports the ban covers all Apple products. In some cases, however, officials can continue using those devices for personal use, provided they don’t open work correspondence on them.
Apple did not immediately respond to Engadget’s comment request. Following Russia’s invasion of Ukraine last February, the company . It later . At the time, Apple made clear the decision was in response to the invasion, noting it stood “with all of the people” hurt by the incursion.
The ban comes after Russia’s Federal Security Service (FSB) claimed at the start of June that it had uncovered a “spying operation by US intelligence agencies” involving Apple devices. The FSB said thousands of iPhones, including those in use by the country’s diplomatic missions in NATO countries, had been “infected” with monitoring software. The FSB went on to claim — without showing evidence — that Apple had worked closely with US signal intelligence to provide agents “with a wide range of control tools.” The tech giant denied those allegations, stating it had “never worked with any government to build a backdoor into any Apple product, and never will.”
More broadly, the move is reflective of a desire by Russia’s government to lessen its dependence on foreign-made technology. As The Times notes, President Vladimir Putin signed a decree last year ordering institutions involved in “critical information infrastructure” to migrate to domestically developed software by 2025.
With Jane Birkin’s passing, France loses both an icon and one of its greatest enigmas. To focus on France is not to diminish the fact that Birkin’s death will be mourned around the world. Alongside Brigitte Bardot, Françoise Hardy and Catherine Deneuve, Birkin was one of the last surviving 1960s femmes who sparked global interest in French culture.
Except that Birkin wasn’t French. She was born in London and clung to her English accent all her life. Birkin was perfectly fluent, but cultivated a faux-naïf way of speaking her adopted language that reinforced her persona as the eternal child. For the French, it was all part of her singular charm, established decades earlier… and which she sometimes struggled to escape.
As partner and muse to Svengali-like songwriting genius Serge Gainsbourg, Birkin posed for the cover of his “Histoire de Melody Nelson” album, wearing only a red wig and open-waisted blue jeans, a plush monkey clutched to her bare chest. Two years earlier, she recorded the erotic duet “Je t’aime moi non plus,” originally written for Bardot. Those are Birkin’s ecstatic moans that echo over the scandalous track’s final seconds, which led to its being censored in various corners and condemned by the Vatican.
Jane met Serge on the film “Slogan,” a fun if disposable 1969 comedy about a middle-aged ad man tempted to abandon his pregnant wife after he falls for a much-younger nymphet (played by guess who). This reluctant sex symbol, who’d dared to appear nude in Antonioni’s “Blow-Up” and played the naive teen Alain Delon seduces in “La piscine,” was never a great actor — she had neither the training nor the range to dramatically transform herself for a role — but she possessed that far rarer, ineffable quality of the star. When audiences looked at Jane Birkin on screen, they saw Jane Birkin… or they saw the figure Jane Birkin allowed audiences to believe was the real her, and which may have actually been an elaborate lifelong performance.
That paradox was key to her appeal. Was Birkin a doll molded by the men in her life, or was she an artist with an instinctive talent? Both were true. Birkin’s own journals, collected and published as “The Munkey Diaries,” reveal far less than fans demanded. Gainsbourg may have encouraged Birkin to make herself ubiquitous (as she did, appearing in ad campaigns and throwaway comedies), but she gradually took control of her own image.
All along, Birkin was deeply insecure, as we discover in her two most revealing screen credits: “Jane B. par Agnès V.” and “Jane by Charlotte.” The first is a playful postmodern pseudo-documentary on Birkin by pioneering French director Agnès Varda, who fashions the project to look like the sort of star portraits that audiences might see on TV, alternating personal interviews (in which the woman opens up in the presence of another woman) with clips of her most famous roles as Joan of Arc or mythological Greek princess Ariadne, a crime-movie femme fatale or pie-faced silent comedian — only, Birkin had never been cast in any of those parts. This manufactured B-roll material was shot specifically for the film, as Varda gave the star, then in her early 40s, a chance to play the roles she’d been denied. (The movie is now streaming on the Criterion Channel.)
By contrast, “Jane by Charlotte” is a real documentary, made by the daughter of her 12-year relationship with Serge. Charlotte Gainsbourg is one of the most daring and versatile actors working today, but she can only get so much out of her mother, who’d been filmed and photographed, ogled and objectified, so much of her life. At a certain point in the 1980s, she rebelled against the reductive way the world saw her. She chopped off her hair (it’s short in Varda’s film) and insisted on giving a live concert at Paris’ Bataclan.
Previous performances had involved pantomiming to pre-recorded audio; Birkin had something to prove. Back in the ’60s and ’70s, she had embodied a new kind of sex symbol: an ambassador of Swinging London in France. Where Bardot was voluptuous, Birkin was tomboyish: the “garçonne” described in “Melody Nelson.” Tall and slender, with bony hips and flat breasts, Birkin did not consider herself attractive (this was long before Kate Moss made heroin chic a desirable aesthetic). The public disagreed, of course, and blue-eyed, gap-toothed Jane Birkin types still thrive year after year in French cinema — all because she agreed to pose as Gainsbourg’s underage nymphette.
Serge’s lyrics told of a 14-year-old the singer he struck with his Rolls Royce, then seduced — a provocation that raised eyebrows at the time and which today’s hyper-sensitivity simply wouldn’t permit. Decades later, after collaborating with Varda on “Jane B.,” Birkin got to play the predator in the surprisingly non-scandalous “Kung Fu Master,” in which her character falls in love with an underage boy (played by Varda’s son, Mathieu Demy).
Though painfully shy in real life, Birkin pushed herself for the sake of art. She played a gamine diner waitress just androgynous enough to seduce a gay truck driver in Gainsbourg’s directorial debut, “Je t’aime moi non plus” (like the song). Gainsbourg considered playing the role himself, but ultimately enlisted Joe D’Allesandro, the resident stud of Andy Warhol’s stable.
If that sounds strange, consider Birkin’s scenes in Roger Vadim’s “Don Juan, or If Don Juan Were a Woman” (also available on the Criterion Channel). Bardot plays the title character, who takes Birkin to bed. It’s arguably the sexiest image in all of French cinema (though “La piscine” comes close), complicated by the fact we’re watching Gainsbourg’s girlfriend getting it on with his ex, who’d been previously married to Vadim. To say that those were different times would be an understatement.
Birkin may have been an object at the outset of her career, but midway through her life, she showed — with intelligence and class — that she was in charge. By retaking her reputation and building a wall around her secrets, Birkin became all the more intriguing.
This weekend saw Disney’s upcoming film “Haunted Mansion” become the first to stage a premiere without its cast, who were all absent as part of SAG-AFTRA’s strike which began this past Friday.
With stars like Tiffany Haddish, Owen Wilson, Lakeith Stanfield, Jamie Lee Curtis and Danny DeVito now among the 160,000 actors union members pulling out from film and TV productions as well as any events promoting those productions, Disney repurposed the premiere as a fan event at the Anaheim resort, with Disneyland cast members dressed as Mickey and Minnie Mouse as well as famous villains like Maleficent and Cruella De Vil appearing on the red carpet outside the famed theme park ride that inspired the film.
It is not clear whether these cast members are unionized with the American Guild of Variety Artists, which represents stage performers at Disneyland and Universal Studios Hollywood among others. TheWrap has reached out to the AGVA for comment and will update with any reply.
One person involved with the film who was on the red carpet was the film’s director, Justin Simien, who voiced his support for his stars and for SAG-AFTRA and WGA members who are now together on the picket lines demanding stronger AI protections and higher residual pay for streaming shows and movies. He also criticized Disney CEO Bob Iger, who said in a CNBC interview this past week that the unions’ demands were “not realistic.”
“Let me tell you about unrealistic: Me being a filmmaker is unrealistic,” Simien told Variety. “Coming from Houston, Texas, gay, Black? That’s unrealistic. And what made me believe I could do that and so many other things is watching these movies with these beautiful protagonists that had these unrealistic dreams, and seeing the journey that it took to get there.
“So many artists believe in that dream and contribute to these movies and the products, and are here because of these products,” he added. “I would love to talk to him about the reality that we all face as artists to make the impossible happen every day.”
While “Haunted Mansion” is the first film to premiere without its stars because of the SAG-AFTRA strike, Cillian Murphy and the cast of Christopher Nolan’s “Oppenheimer” left during its premiere in Paris as reports surfaced that SAG-AFTRA was preparing to announce its strike. Nolan voiced his support for the union as he announced to attendees that his cast had left, and later said in a BBC News interview that he would not begin work on his next film until the strike was resolved.
“This is not about me, this is not about the stars of my film,” he said, “This is about jobbing actors, this is about staff writers on television programs trying to raise a family, trying to keep food on the table.”
On July 15, Chopra attended the Wimbledon Women’s Final with her husband Nick Jonas wearing a green and black midi dress, skinny sunglasses, and a pair of black thigh-high sock boots with her toes poking out. Much like pairing closed-off socks with sandals that are inherently designed to show toe, these shoes appear to go against their own full-coverage design by granting onlookers a peek at Chopra’s fresh pedicure. Not sure if you love them or hate them? That’s fashion, baby!
Priyanka Chopra Jonas and Nick Jonas attend day thirteen of the Wimbledon Tennis Championships on July 15, 2023.
Neil Mockford
Chopra pulled the daring ensemble together with some simple gold hoops, a half-up-half-down hairstyle, a taupe smokey eye, and mauve lips. While Chopra’s overall look was giving futuristic garden party, Jonas went the more classic route in a dapper tan suit, tie, and tortoiseshell glasses combo. “Beautiful day out at the tennis with my ❤️,” the Jonas Brother bandmember captioned an Instagram post from the day. “Such an honor to sit in the Royal box and watch @marketavondrousova win her first grand slam.”
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The series finale of Jack Ryan sees the convergence of all that has transpired throughout season 4, finally coming to a climax. Half of this episode focuses on the team trying to get Jack back, the rest sees them looking to disarm the 5 bombs that have made their way to the US border.
Seeing as though this was the final episode, and the final mission, the writers did not fail to deliver in terms of excitement, intensity and high drama as Jack and his team once again move to save the lives of countless people.
The previous episode saw Jack, Mike and Chavez break into the Wukong palace and with the help of Chao Fa who was killed by Tin Tun, they managed to destroy the remaining triggers. Kathy was abducted by Zeyara but saved by Mike, Jack and Chavez who get her and Chao’s family out of the country. Meanwhile back in DC Greer has found William Tuttle, who he sees is running a mission to capture Jack, and Wright learns that Osoji is running Tuttle and Miller.
Once again in a perfectly edited opening scene, we see two completely different events transpiring at the same time. In one we see Wright’s confirmation hearing where she is officially named the new Director of the CIA. In the other we see Jack being dragged into Zeyara’s compound and strung up in shackles, the same scene we see at the start of the pilot episode, we then see Zeyara remove the black bag from Jack’s head and reveal herself.
In Thailand, Mike and Chavez are figuring out what to do next, when Mike realizes Jack has probably been taken to the same place he picked up Cathy. Later on at a nearby fishing village Chavez and Mike buy some weapons and a boat, Chavez gets ready to leave but tells Mike he has to stay behind because his shoulder was shot in the last episode, he tells him to go to the nearby air force base and get a plane to come get him and Jack.
Back at the CIA, Greer finally gets to question Tuttle, it turns out he’s ex military and ex CIA. After an intense conversation, Greer asks where Jack is, he doesn’t answer, when Greer asks where the bombs are he is able to determine from his reply that they are on the move. Greer then receives a call from Cathy who is still at the air force base, she informs him that Kyi and Bennu have no information with them, the information that Chao promised would help the CIA. When Cathy asks about Jack, Greer gives her the news about his abduction.
Courtesy of Prime
Zeyara questions Jack while he is still restrained asking him what Chao Fah gave him, what he told him and who else knows. Jack refuses to answer her, so she has him electrocuted, she continues to question him, about the triggers and the bombs, according to Zeyara this was never just about the bombs, it was about “proof of concept”, revealing Americas vulnerability to the rest of the world, but Jack’s resolve is strong, he continues to refuse her. Which leads to him being electrocuted again.
When Osoji visits Wright’s office, he is confronted by Elizabeth and Greer about his ties to Tuttle and Miller. When he finds himself cornered, he offers them a deal, immunity in exchange for Jack’s location. Greer disagrees with this option knowing Jack would never want this, but Wright sees no other way.
When Cathy goes to examine Bennu, she notices her stuffed rabbit, Bennu says he cant talk, and her dad gave it to her so that he wouldnt tell anyone her secrets. That’s when Cathy discovers that Chao had hidden a flash drive inside the toy with all the intel he promised the CIA would need. She immediately phones Greer to update him.
Chavez has now arrived in Myanmar, where he gives up his boat and buys a car instead. Mike has arrived at the local air force base in Thailand with the help of a local fisherman and requests to borrow a plane, showing off one of his old business cards.
Jack has passed out from the brutal torture being inflicted on him, but Zeyara is not done yet. When Jack gets up she cruelly tells him she did warn him not to pass out, as now her men have changed tactics. One of them rips the back of Jack’s shirt, Zeyara then notices the scars on Jack’s back from his accident, which leads her to realize he has done this before. She questions Jack once again, but he remained dissuaded by her. This led to Zeyara’s men pouring burning hot water and salt onto Jack’s back.
Courtesy of Prime
Jack’s suffering was soon about to end, as Chavez had made his way to the compound. He distracts her men at the entrance by setting his car on fire and properly down the side of the building. He then picks of her guards one by one. When Zeyara hears the sound of a grenade from above, she asks Jack who it is, he simply replies, “A friend.” When he reaches the entrance to the room where Jack is being kept, Zeyara realizes it is Chavez at the entrance, she threatens to kill Jack if he enters, but if he walks away she promises to walks away she will find the families of his fallen men and fill their bank accounts, but if he doesnt, she will simply find their families. Chavez lowers into the room from above and points a gun at Zeyara, asking her to tell him the name of his friends, he promises to let her go if she names on of his men, of course, she fails so Chavez shoots her. We then see Jack breathe a sigh of relief. Chavez then comes up behind Jack and puts his hand on his shoulder. Jack looks back at him and then simply looks down in utter relief and thanks. Chavez then helps a wounded Jack walk outside the compound.
You could tell Jack was losing hope, that small moment of pure friendship and gratitude was so heavy and emotional. Such a well done and really beautiful scene.
This group of actors has been nothing short of remarkable throughout the season. But one of the highlights of the season was the addition of Michael Peña who played Domingo Chavez. The amount of talent and intensity Peña brought to the role can be seen as he steals every single scene he is in.
Mike then calls to inform Greer that they have rescued Jack. He rushes to stop Osoji, but it is too late as he has already signed the immunity papers. Mike, Chavez and Jack return home where Cathy is waiting for Jack.
Patrick has been busy while they were away, digging up the entire operation. We finally know the significance of the Book of Mormon that was near Miller the day he died, it was used as a One Time Pad to send coded messages. Jack and his team also learn that President Udoh wasn’t killed to defend a regime, he was killed to defend a port. The shipments from Myanmar were transported to Mexico via Lagos.
Jack meets Tuttle face to face and questions him about the location of the bombs with Greer. Tuttle seems ignorant as to where they are. When Jack mentions that the shipment has been expedited, ajack noticed that he definitely did not know about that. He mentions that he gets all communication at the Biz Hub office. At the office they find a sealed envelope with car keys inside. Jack recalls the trucks they were unloading at the port in Mexico, that’s when they realise how the bombs are being moved. Jack finds the name of the company: Derek Hill Motors in Houston, Texas on the key chain, he calls them and learns that the tucks will be at the border in the morning.
At the border control room, Jack quickly assumes control looking for any suspicious vehicles with the help of Chavez and the border control agents. Wright joins in via conference call waiting to help. The team is looking for any trucks entering or any vehicle carriers. All vehicles are weighed pre-load at the border. The control room vets every truck to match its current weight to the number cleared beforehand. Jack and a border control agent notice one truck carrying a number of cars does not have a pre load weight, probably because it is a last minute
Courtesy of Prime
shipment, when Jack questions how that is possible one agent states that has to be signed off on by people high up. Jack asks Wright to run a list of all last minute shipments to the border for him. In the meantime a police cruiser is surveiling the truck, Wright confirms the differential weight of the truck pre and post-loading is 643 pounds confirming this one is carrying the bomb. Jack immediately tells the police to clear out, the truck driver hears the radio and shoot one of the cops in the car and takes of in the truck. A police vehicle shoots the truck driver bringing it to a stop but they still have to deal with the bombs. Jack and his team approach the truck but end up in a firefight with the rest of Marquez’s men. Meanwhile Elizabeth comes across a shocking revelation. After taking out the remaining men, Jack and his team proceed to enter the vehicles and look for the bombs, listening carefully for any devices. After locating one of the bombs using the trigger, Jack proceeds to disarm it by cutting one of the wires. They then continue to do the same for the remaining four bombs.
Elizabeth confronts Osoji one more time, he once mentioned to her that missionaries saved his village, when she asks him about it again, he mentions it was Mormons. Which explains his link to Miller and their use of the Book of Mormon. She then tricks Osoji into confessing to Miller’s murder just as the police show up. He reminds her he has immunity, but as she points out, she has no jurisdiction over local homicide.
Courtesy of Prime
Once again, Jack is asked to speak in front of the senate and brief them on his heroic mission as Senator Henshaw put it, but the outcome of the hearing is not at all what he expected. Senator Henshaw points out that the American people deserve details as to how they arrived at this point. Jack a delivers an incredible an powerful speech, but the most important part comes when he reveals what Wright discovered earlier in the episode. Holding up a signed document Jack reveals the truth about Senator Henshaw and how he was complicit in the attempted strike and how he had taken bribes from Osoji. Jack does not hold back in that moment and does not hesitate to go after Henshaw telling him that the people deserve better.
John Krasinski’s performance in the final season has been incredible but in this episode in particular, Krasinski has really outdone himself. The intensity and emotion in his speech, the pain and strength when Jack was being tortured. Those two scenes really stand out.
Courtesy of Prime
In the final scene, we see Jack, Greer, Mike, Chavez and Wright standing outside the White House, Wright mentions that the President might ask Jack to run for office now. But of course, Jack’s response is not a chance in hell. Chavez on the other hand is eager to get back to work. Jack walks towards Cathy who is nearby, making it known that he wants to take a break. When Greer asks how long, Jack gives a vague response. Wright simply says, “I’ll see you around campus”, he then looks at all four of them and says “Hell of a team photo”. Jack then walks towards Cathy, puts his arm around her and the two walk away, to a new life together… until the world needs Jack Ryan again.
This was not the ending we had expected for Jack Ryan, but it was a great way to wrap up this series. The ending gave us closure, one last exciting mission, one last surprise and rather than simply just a happy ending, it brought new beginnings for all our favorite characters which leaves things upto interpretation for fans. This series has been a great bingeworthy addition to Television, taking real world issues and turning it into an entertaining and thrilling series is not an easy task, but it is one that the writers have accomplished over te past seasons. While some seasons are better than others, one thing remains certain throughout them all, and that is Krasinski.
John Krasinski has made a lasting impact on this character in his time as Jack Ryan, playing the character with great passion for the role and delivering an absolutely brilliant performance throughout the past four seasons of Jack Ryan. I for one am going to miss Jack Ryan very much, and I will certainly miss Krasinki’s portrayal of the character. Now it’s time to pass the mantle of Jack Ryan to someone else.
In the penultimate episode of Jack Ryan season 4, we see the most thrilling episode of the season. A lot is going on in this episode, we see a stealth infiltration, an abduction, plenty of shootouts and a shocking death that we did not see coming.
In the previous episode we learnt that Zeyara Lemos was the real Architect behind Convergence. Greer is stabbed by Tuttle for coming too close to the truth. Mike, Jack and Chavez steal a trigger from Olafsky in Croatia and finally make contact with Chao Fah.
The episode begins with Zeyara and Chao Fah returning to Myanmar. We then see Zeyara on a call with Marquez where he mentions she has 5 packages bound for the US, she tells him to get the packages to the border asap, and threatens to blow them up with the triggers if he doesnt.
Courtesy of Prime
Jack, Mike, and Chavez arrive in Myanmar ready to meet Chao. Mike heads to the Wukong palace and poses as a gambler. Chao has informed his security that there may be a potential break in and ups his security detail, he tells his men to get their artillery ready to go. He sees that Mike has arrived and approaches him and offers to provide him him and his winnings an escort. Chao has provided Mike with a location at which they can meet. Meanwhile Cathy has arrived in Myanmar as well, following Zeyara’s trap of an invitation to join her WHO organization.
Back in Washington, Patrick, the CIA Analyst informs a bedridden Greer that he has found Tuttle’s identity after running the blood on the knife through the military database, his name is William James Tuttle. Greer asks for all the information he has on him, and then he texts his son asking for his help in breaking him out of hospital.
Back at Chao’s house Tin Tun is poking around about the day Kyi Fah and Bennu tried to leave the country, he is questioning whether she was really sick, later on he visits the doctor that Chao visited earlier in the season and kills him and his nurse.
When Chao reaches the meeting spot he is pleased to see Chavez again and to meet Jack. When he sees the trigger he explains how they work, and that there were a lot more than they thought there was, and that Jack and his team are meant to destroy them. He explains how the triggers work and tells them the cadino vault holds the remaining triggers. Chao gives them keycards to override security in the casino. Every door and every system. Using the casino’s blueprints they plan their entrance, and their escape. Chao points out that the casino’s high end security system leaves little room for error.
While Mike and Chavez rifle through the artillery that Chao brought for them, inside while he is alone with Jack, Chao asks Jack to promise that no matter what happens, they won’t change their course, and reveals a secret to Jack that could put the mission at jeopardy. He tells Jack that Zeyara is the architect behind the entire operation and that Cathy is here with her in Myanmar being used as bait. Jack grow enraged as Chao continues to tell him he had known about this for hours, and that Zeyara wants him to go after Kathy rather than the triggers. This sends Jack over the edge as he grabs Chao and slams him against the wall demanding Kathy’s location until Mike and Chavez enter and break it up. A still furious jack wants to know if she’s still alive, Chao reassures him that as long as he’s alive she’ll be alive. Chao then reveals he knows where she might be kept.
Courtesy of Prime
Zeyara and Cathy reach her hideout, Cathy assumes it will be part of their missionary work, but in that moment reveals her true intentions to Cathy as her men start to approach her, she insists she take out her phone and call Jack Ryan now. Jack and his team are preparing to head out, Chao hand a detonator to Chavez and simply says, “On my word”. Jack’s phone rings, he hesitates to answer, Chao reminds him that if he answers they’ll all be dead in minutes. When Cathy tells Zeyara Jack first answer, she has her men take her. She is taken to a massive compound that used to be a prison.
Greer gets a call from Wright to reprimand him for leaving the hospital, but after their conversation she asks her assistant to find all she can on Dominic Sanderson, the coma patient whose name was on Miller’s shell companies. Later on Wright visits an After School Academy in DC where she finds a trophy case with a tribute to Dominic in a trophy case, in which she finds a picture of Dominic next to Osoji, her liason and the political consultant.
Courtesy of Prime
At the Wukong Casino, things are beginning to move into place. To lure the guards in the parking lot out, Chavez drives a car in and leaves it there, meanwhile Jack walks into the front entrance of the casino in order to be caught by the security cameras. Chao then informs Zeyara, pretending to be worried and informs all his men to go after Jack. Mike makes it to the circuit room where he sets up explosives to create a blackout to neutralize the security systems which give them a window of 30 seconds to ensure that Chavez makes it inside and that Jack makes it through the door behind the cash desk. Chao also ensures that none of his men will be able to use their security cards by initiating a security lockout. He then heads to the vault with two of his men. Jack and Chavez make their way their as well while Mike heads to the roof where he takes off in a helicopter. When Jack and Chavez make it to the vault, Chao kills the two guards inside, and they get two work. They set up charges around the remaining triggers and then Jack video calls Zeyara whilst pretending to hold Chao at gunpoint, he demands she set Cathy free, or they blow up the vault with everything she built in it.
Meanwhile Greer heads to the Biz Hub office and uses Tuttles real names, he realizes the receptionist is lying and insists he tell him everything. He then gets a call from Wright who tells him about Osoji, Greer and Wright figure out he’s the ones who was running Miller, and whoever killed him. Greer then gives her the address he got from Biz Hub, he’d about to get some backup.
As Zeyara’s men are escorting Cathy out, we see Mike approaching from above, they quickly get into vehicles and try to get away but Mike blocks their path and takes out two vehicles with the chopper’s guns. With Zeyara’s men distracted by her safety, Cathy takes the chance to escape, having to shoot one of Zeyara’s men along the way. She then makes a run for it until she safely gets to the chopper with Mike.
On their way out of the casino, Kyi calls Chao to warn him that Tun is suspicions and that he has men surrounding their house. The three of them leave immediately, unknowing to Jack and Chavez, to Chao’s compound. While in the car Jack receives a call from Mike informing him that Cathy is with him, which allows him to breathe a sigh of relief, the two are headed to the airfield, which is where the three of them were supposed to head as well, Chao Fah informs Jack and Chavez that they’re going to get his family, and that the data they need of how his entire operation was run is with them and if he wants to save his country, he needs to save his family.
Courtesy of Prime
When they arrive at the compound, they find it to be empty, when Chao heads outside, he sees his daughter and his wife emerge from the bushes, as he hurries to get them inside, Chao is dot by a sniper, who turns out to be Tin Tun. As he lay wounded in his house, Chao says goodbye to his family, when they leave with Jack who promises to get them to safety, he apologizes to Chavez, but Chavez tells him he made everything right, and hands him the detonator. Once Jack, Chavez and Chao’s family have left a few of Tun’s men storm enter the gates. Tun enters the house expecting to shoot a wounded Chao, but Chao ends up blowing up the house with them in it as well as the rest of the triggers.
When Zeyara sees what has happened to the triggers, she calls Osoji and tells him to call his man, aka Tuttle immediately. Now it’s clear who has been pulling the strings.
Courtesy of Prime
At the airfield, Jack and Cathy reunite in a sweet embrace, Kyi and Bennu hurry on the plane, before they can leave, they realize an army of men coming towards them. Jack tells Cathy he loves her and insists she get on the plane without him. Jack, Chavez and Mike then continue to hold off Zeyara’s men for as long as they can so that the plane could take off safely, until more start coming. Once the plane takes off Jack and Chavez jump into the Chopper piloted by Mike and take off.
Greer who is now outside Tuttle’s house gets a phone call from Jack telling him they’re in Thailand and that they’re chopper ran out of fuel. He tells Greer that Kyi and Cathy are headed to him and that she has all the Intel they need. He also warns Greer about the five bombs and how they are still out there even though the triggers were destroyed.
In the last few intense moments of the episode, we see a perfectly synchronized, and well edited set of action sequences taking place on Teo different continents with vastly different context. One one side we see Jack and his team ambushed. And on the other Greer and a SWAT team prepare to enter Tuttle’s house.
As Jack and Mike prepare to move out, Mike is shot in the arm by a sniper, luckily it’s not a fatal wound, Chavez notices men on the ridge, he starts to shoot as they fire back Jack heads to him grabs a rifle and starts firing, Mike notices a boat approaching that looks like a black ops team, he realises they are part of the Zodiac team.
Greer has entered Tuttle’s house, they locate him in a room surrounded by computer screens, one on which Greer sees body cam footage of Jack Ryan himself. As Jack is moving along the rocks, he is captured and black bagged, and all of this is witnessed by Greer.
Compared to the rest of Jack Ryan season 4 which was more of an espionage thriller, this episode was action packed from start to finish. This particular episode has you on edge with all that is going on. Not to mention everything that is yet to come, episode 5 does a great job of setting up the series finale, both with it’s cliffhanger of an ending as well as the revelation that the weapons that convergence was all about are now out in the world. For once we’ll have a series finale where Jack Ryan needs saving, and not just the world.
Wednesday nights are becoming my favorite nights of the week. Monday’s I just dread because of having to watch the show, record two podcasts, and write a column. Wednesday’s are so much better because, while it’s two shows that I watch, I actually like them so much better than “Bachelorette.” “Temptation Island” and “The Big D” tonight are REALLY good. I’ve seen both screeners and get ready for 2 great hrs of TV tonight on the USA Network. This is the first TI episode this season where the Temptation light is introduced, and lets just say it has everyone all out of whack. And that red light is on A LOT tonight. So much so that you’re wondering if it ever turned off. Especially since all it does is signify someone on the other side of the island has given into temptation. But the fact that none of them know what that means or in what form or how long it’s lasting – drives them absolutely bonkers. Some can’t handle it. As for The Big D, Dean’s ex-wife and Angelique’s ex-husband join the group tonight and there are certain dynamics in the house that absolutely change immediately. Can’t wait for you all to watch. You HAVE to be watching these shows if you’re a fan of the “Bachelor/ette.” You will love them.
You can listen to today’s podcast on a number of platforms, but you can also tune in by clicking the player below:
I discuss this on the Daily Roundup today, but the weekend of Sept. 15th, there’s a “90’s Con” happening at the Tampa Convention Center, and it was just announced in the last couple days that the original 90210 cast will all be there – Jason, Ian, Brian Austin Green, Jennie, Tori, Gabrielle, and Shannen – on the 16th and 17th. I seriously contemplated going, but two things are holding me up. One, the week before I’m in Vegas and I don’t know if I feel like traveling back-to-back weekends. But most importantly #2 is that I’m still bothered by the fact that Tiffani Amber Theissen gets shut out from all things 90210 related. She wasn’t invited back for that 6 episode reboot on Fox and she’s not appearing at this. You could say, “Maybe she was and just turned it down.” Without knowing for sure, I think we all KNOW that there’s still some bad blood there between Tiffani, Jennie, and Tori, yet no one truly knows the real story. Yes, Tiffani is married with kids and seemingly moved on, but I’m sorry, that show was a major part of her life. She injected new life into that show and put it in a different direction once Shannen left. Made it more mature, more adult, and added some serious sexiness to it that the show lacked. I’m so bummed these people can’t move past whatever it is that happened and she can’t be a part of anything 90210 related. If this is all on Tiffani and she’s just choosing not to, then so be it. But I really don’t think that’s the case. I wish we all knew the real answers. So many rumors over the years, but I wish they could get past it.
Lets get right to it. “Reader Emails” begins NOW… ________________________
Well Steve,
You asked why twitter would make a crazy rule about how many tweets you can see without a verified account, and then answered your own question the next day: it’s a way to get you to buy that verification.
I guess that blue checkmark wasn’t enticing enough when they first started selling verifications, so they had to up the ante to get more users to shell up the $$$.
Comment: For anyone that hasn’t spent the $8/month, are you still seeing “data limit exceeded” on your Twitter page? I mean at this point, it’s whatever to me. I’m using both Twitter and Threads for the exact same purpose. Except for live tweeting. I don’t think I’ll be doing that on Threads just because there’s no hashtag searches or anything like that. ________________________
Hi Steve,
If Dotun is indeed final one, wouldn’t this be the first time in bachelor history that the winner didn’t get to talk to the lead night one? He clearly said they didn’t talk inside after the limo entrance and they never showed them talking.
Comment: Not sure because I haven’t kept the stats on that. Do we really even know how many did or didn’t? I guess there would be three ways to look at it. Guys that were shown in the first episode talking to the lead, guys that weren’t shown talking to the lead but did, and guys that never spoke to the lead at all. I just don’t know if someone wants to go through 20 seasons of “Bachelorette” to actually find that out. ________________________
The things that frustrate you about Threads are exactly what frustrates me about FB & IG these days: I see more random promoted posts/ads than I do posts from people I follow, and nothing is in chronological order. Wonder if it’s because this new “twitter” is the same company, but wish they’d ALL get on board what we want: to see things from whoever/whatever we follow in chronological order!!!
Comment: Yeah, it’s still doing it. I’ll give them time since they just launched less than a week ago, but did you see Threads is over 100 million users now? If Elon doesn’t fix his shit soon, I think Threads is gonna take over.
I don’t mind the occasional ad in my Twitter or Thread feed, or the occasional suggested post, but I’m just unsure of what’s happening with my Threads feed in general. If I go on to it right now, and I scroll to the top, it’ll have every post made by people I follow since I was last on. That’s good. But then after I’ve read those, if I refresh again, it’s a whole bunch of new people’s Threads from hrs ago. I wish they’d address this.
But I do cover this in today’s Daily Roundup as the creator of Threads posted a thread yesterday updating people on where they’re at. Sounds promising. ________________________
Hey RS…I saw this on Reddit and wondering if you knew the answer. Someone asked if Dave Neal is that Bachelorwhatever account on IG. Are they the same? I thought you’d know.
Comment: No, he’s not. Does Dave look like someone who has time to run an account like that, kiss the asses of the all contestants by tagging them in everything in hopes they respond to you, and lie directly on their bio? No, it’s not Dave. Dave is also male. The person that runs that account is female.
But hit them up though if you’re looking to get a quote on some 2 x 4’s. ________________________
Hi Steve,
If a Bachelor or Bachelorette wanted five homtown dates instead of four hometown dates, would production okay it?
Comment: We’ve had 47 seasons and never had 5 hometown dates. It’s just not needed. No lead has ever been down to those last 5 and just couldn’t decide so gave all 5 a hometown. And if there was one time and I forgot one, then my mistake. But they pretty much know who they want at that point and I don’t feel involving family at a point when you’re decided between who’s 4th place and 5th place is a smart idea. ________________________
Hey Steve,
I didn’t hear anything about Bachelor in Paradise Canada on the podcast today and the finale was last night.
This taped June 2022 and 2 couples are still together 13 months later. Joey got engaged to Tessa and Chelsea and Austin left paradise together.
Austin recently moved to NY, relocating for Chelsea!
You’ve got a big Canadian fan base, and 3 of the successful people are American Bachelor Nation. Why are you leaving us out?
Comment: Because I’ve never seen any season of the show. Has nothing to do with leaving Canada out. I’ve just never watched it, nor do I know how to. And even if I did (I hear it’s City TV or something?), it just doesn’t interest me all that much. Don’t take offense. ________________________
With FBoy Island being on the CW now, do you know if they will have reruns on any streaming service? Is CW related to MAX? Are they the same owners?
Comment: I’m not sure but I gotta believe some streaming service will pick it up. CW is basically free TV. If you get any sort of local channels you should get CW.
Taylor Swift is setting some high chart benchmarks with the release of her “Speak Now (Taylor’s Version)” album. Not only has it debuted at No. 1 with the biggest numbers of the year so far for any release, but it’s one of four albums she now has in the top 10 of the album chart. According to Billboard, that’s the first time a woman has done that in the entire six-decade history of there being an album chart — and she’s one of only three artists to ever accomplish the feat.
Swift also set a record for the female artist with the most No. 1 albums in history: She now has a dozen, moving ahead of Barbra Streisand, with whom she was formerly tied with 11 each.
“Speak Now (Taylor’s Version)” bowed on top of the Billboard 200 with 716,000 album-equivalent units. That number ensured that it wasn’t even a photo finish in this year’s opening-week derby, as the previous best figure was held by Morgan Wallen’s “One Thing at a Time,” which debuted in March with 501,000.
The other three albums Swift has in her triumphant quadrilogy in the top 10 are 2022’s “Midnights” at No. 5, 2019’s “Lover” at No. 7 and 2020’s “Folklore” at No. 10.
In answer to the trivia buffs who will want to know who’s on the very short list of artists who’ve landed four albums in the top 10 simultaneously, the other two are Herb Alpert and Prince. Alpert was the last living person to manage that many, when he did it in 1966. It happened for Prince posthumously, right after his death in 2016. No one else has had four at once since the chart was instituted in 1963.
“Speak Now (Taylor’s Version)” also set a mark for the biggest debut number of the three re-recordings Swift has released to date, in her campaign to remake all of the albums she originally recorded for her former label, Big Machine. “Red (Taylor’s Version)” is now in second place, having come out of the gate with 605,000 in late 2021. The first in this series, “Fearless (Taylor’s Version),” had a less auspicious bow, with 291,000 in early 2021, with the lesser number partly accounted for by the fact that the much-coveted vinyl version was not yet available at the time of general release. That one, like the others, easily debuted at No. 1 anyway.
Sales accounted for a lot of the “Speak Now” total, in an era when most No. 1 albums are getting almost all of their strength from streaming. Actual sales for the album in its first week added up to 507,000 copies. Of those, vinyl sales accounted for 268,500. Billboard says that is the second-best week for a vinyl album since SoundScan began tracking them in 1991. The only LP to have a better opening week in the last 32 years is Swift’s own “Midnights,” which sold 575,000 copies on vinyl out of the gate last October.
And in overall opening numbers, including streaming and sales, “Speak Now” is the biggest album since “Midnights,” which came out with 1.58 million first-week units.
Her 716,000 unit number for “Speak Now” is the fifth-largest bow of the last five years, Billboard additionally points out. Swift albums account for four out of five of those debuts, with Adele’s “30” in there as the fourth-biggest, just ahead of “Speak Now.”
Not to be forgotten, other albums squeezing into the top 10 amidst the Swift onslaught include Wallen’s “One Thing at a Time” at No. 2 (with 104,000 units) and “Dangerous” at No. 6; Lil Uzi Vert’s “Pink Tape” at No. 3 (down two slots from its No. 1 bow last week, with 61,000 in week 2); Peso Pluma’s “Genesis” at No. 4, and Gunna’s “A Gift and a Curse” at No. 9.
As Taylor Swift achieves her 12th No. 1 album on the Billboard 200 chart (dated July 22) with Speak Now (Taylor’s Version), she also populates the top 10 with three of her former No. 1s, marking the first time in nearly 60 years that a living artist has at least four albums at the same time in the top 10.
Speak Now (Taylor’s Version) is joined by her former chart-toppers Midnights (falling 4-5), Lover (8-7) and Folklore (13-10). She is the first living act to have four albums in the top 10 at the same time since the April 2, 1966-dated chart, when Herb Alpert also had four albums in the top 10 (Going Places at No. 2, Whipped Cream & Other Delights at No. 3, South of the Border at No. 9 and TheLonely Bull at No. 10).
Between Alpert and Swift, only one other act has placed at least four titles in the top 10 concurrently, and that was Prince, following his death in 2016, when he had five albums in the top 10 dated May 14, 2016. That week, the Purple One reigned in the top 10 with The Very Best of Prince (falling 1-2), the Purple Rain soundtrack (with The Revolution, 2-3), The Hits/The B-Sides (6-4), Ultimate (61-6) and 1999 (31-7). (Swift is also the only woman with four albums in the top 10 at the same since the Billboard 200 was combined from its previously separate mono and stereo album charts into one all-encompassing list in August of 1963.)
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 22, 2023-dated chart will be posted in full on Billboard‘s website on July 18. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
The scene where Robert Shaw gets eaten in “Jaws” is one of the most thrilling moments in movie history. After all of Steven Spielberg’s virtuoso framing and cool ’70s Hitchcock scare tactics, the shark’s big-mouthed consumption of a man who fully deserves to be eaten had a shockingly raw “Look, there it is!” exploitation-film brazenness. (One not inaccurate way to describe “Jaws” would be as the greatest B-movie ever made.) “The Flood,” an alligator-attack movie that’s also a violent prison-break thriller, takes its cue from that scene. Set in a backwater Louisiana police station during a hurricane, the film isn’t shy about serving up its big, nasty human-torso-meets-jaws moments. It’s basically a slasher movie with teeth.
The alligator thriller, of course, was always a bargain-basement knockoff of “Jaws” — literally, since the alligators are inevitably slithering out of some basement somewhere. But it was launched with an ironic sliver of cachet, because “Alligator” (1980), the first entry in the genre to win attention, was written by John Sayles, who’d released his seminal independent drama “Return of the Secaucus 7” the same year. The Sayles connection signified that “Alligator” was at once a meat-grinder monster thriller and a knowing campy gloss on meat-grinder monster thrillers. The genre had actually begun in 1976 with “Eaten Alive,” the very bad movie that Tobe Hooper made directly after “The Texas Chain Saw Massacre.” It now includes a vast catalogue of such titles as “Lake Placid” (1999), “Dark Age” (1987), “Black Water” (2007), and, more recently, the logy and overpraised “Crawl” (2019), a waterlogged thriller that trapped you in a house along with a father and daughter and two gators.
“The Flood” is both schlockier and livelier. It lets you know where it’s coming from in the opening sequence, as a couple of deadbeat strangers take refuge from the storm in an abandoned house. A gator on the loose shows up at the front door in about three minutes (no slow build here), chowing down on one of the deadbeats. The other one tries to fight off the gator with a stick, but she becomes mincemeat as well. The film is telling us that its body-munch scenes are going to be served up like porn. The alligators are (mostly) digital, and quite convincing, though the innovation here is that their eating of heads and torsos is rendered with a gruesome wash of digital blood spatter.
Four of the gigantic 500-pound beasts have climbed in through the roof ducts of the Lutree Sheriff’s Department, a concrete bunker of a building in which most of the movie is set. Inconveniently, the place is playing host to half a dozen burly grizzled stone-sociopath killers who are being moved from one prison to another. The bus they were on had to stop because of the storm, and several of the prisoners’ comrades have ambushed the place to bust them out. This is a set-up that the John Carpenter of “Assault on Precinct 13” would approve of, and it mostly carries you along, since even an alligator movie can’t be all alligators. (That was the trouble with “Crawl.”) “The Flood” has two sets of predators, one a bit less human than the other.
The staging, by director Brandon Slagle (“House of Manson”), is basic in a competent potboiler way, and the cast is pretty good. Nicky Whelan, as the sheriff, is like a prole Angelina Jolie, and the hulking actors who play the prisoners, like Mike Ferguson and Randall J. Bacon, turn them into convincing hardened sinners. Casper Van Dien, from “Starship Troopers,” plays the inmate who isn’t as bad as they are (he’s a cop killer who Had His Reasons), and his romantic flirtation with the sheriff is the corny glue that tries to hold the movie together. But what’s really holding it together is the promise of alligators doing that thing they do. Stalk, slither, chomp, repeat.
The family of the Edmonton man who was killed near the Belvedere LRT station last week was remembered and honoured by his family and community Saturday evening.
The memorial service for Rukinisha Nkundabatware was held outside the northeast station, with friends and family surrounding a vigil created for the 52-year-old.
“It makes me feel very, very bad for (the) loss of my dad,” said his son, David Nkundabatware. “It’s very bad. Everyone is very shocked and sad.”
Nkundabatware, who left the Congo nine years ago to escape the violence in his home country, died after being stabbed in the city in which he sought refuge. He leaves behind seven children, a wife and a grandchild.
“My dad was very humble, kind and he just loved the family, of course, and the community as well,” said David.
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Jamal Joshua Malik Wheeler has been charged with second-degree murder and three counts of breaching conditions. Wheeler was supposed to be under 24-hour house arrest and wasn’t allowed to be near the LRT.
At the time of the attack, police say he was living in a tent close to the station. Nkundabatware’s friends and family are now questioning why there wasn’t anyone around to help when their loved one was being attacked.
“We need protection first. Safety is the first thing to be in the country, the province, everywhere. We need safety first,” said David.
“We know we have the police, we have the peace officers who are actually in charge of the LRT system, so we are wondering how can that happen,” said Eugene Makombe, Nkundabatware’s pastor.
“We think that the city of Edmonton has to be held accountable and they have to do something bigger to protect the citizens of the city.”
The homicide has sparked conversation within the province, the city and police around how to reduce violent crime in Edmonton. It also prompted Mayor Amarjeet Sohi to write a letter to the federal justice minister requesting immediate bail reform.
The letter, sent Thursday, highlights the city’s high violent crime rate and asks for a more integrated release program for convicts reentering the community.
In early March, strong winds brought down trees and power lines in the Nashville area, leaving thousands of homes without power. But about 20 miles outside the city an electric pickup truck fed energy to John and Rachelle Reigard’s home, keeping their lights on.
“You can look at all the houses around us, and they’re all off,” said Mr. Reigard, who bought the pickup, a Ford F-150 Lightning, more than a year ago. “A lot of people ask the question: ‘How do you have power?’”
The Reigards are part of a small group of pioneers using the batteries in their electric vehicles as a source of backup power for their homes. Energy and auto experts expect many more people to do the same in the coming years as auto and energy companies make it easier for people and businesses to tap the energy in electric cars for more than driving.
To some people, electric vehicles are a better option because they can serve multiple functions. Another big advantage: The battery in an F-150 Lightning or the electric Chevrolet Silverado pickup, which is expected to go on sale this year, can store a lot more energy than home batteries that are sometimes installed with rooftop solar panels. Pair an electric truck with a home solar system, the thinking goes, and a family could keep the lights on for days or even weeks.
The use of electric vehicles as a source of power has intrigued electric utility executives, including Pedro Pizarro, who heads the board of the Edison Electric Institute, the industry’s main trade organization, and is the chief executive of Edison International, which provides power to millions of homes and businesses in Southern California.
Mr. Pizarro’s company and other utilities are testing whether it is practical and safe to send power from electric vehicles to the grid.
By soaking up power when it’s abundant and releasing it when it is scarce, electric vehicles, he said, could serve as “a bigger rubber band to absorb the shocks and manage them day to day and week to week.”
Greater use of electric vehicles in this way should also allow utilities and homeowners to reduce planet-warming emissions by relying more on renewable sources of energy like solar and wind that provide power intermittently.
For now, few electric vehicles can provide backup power. But executives at Tesla, the dominant electric car company, and other automakers have said they are working on updates that will enable many more cars to do so.
When the power goes out in the Reigards’ neighborhood in Mount Juliet, Tenn., their truck supplies enough electricity to keep the lights on, run four refrigerators and operate a fan in a natural-gas-fueled heating system. The truck doesn’t keep their air-conditioning going, but other essentials turn on just minutes after an outage begins.
When the family lost power around Christmas, Ms. Reigard’s parents, who were visiting, were alarmed because it was freezing outside. “They started thinking, ‘My gosh, what’s going on?’” Mr. Reigard said. His response: “Nothing’s going on. We’re going to be fine.”
The couple have been so pleased by their truck that they bought 10 more for their business, Grade A Construction. They estimate that the investment is saving them $300 a month per vehicle because driving on electricity costs less per mile than burning gasoline.
While the trucks reduce operating costs, outfitting the Reigards’ home with the electrical equipment that lets it receive power from the F-150 required hiring experts and spending thousands of dollars. The couple used Qmerit, a company that manages the development, installation and maintenance of electric vehicles, storage and vehicle-to-home energy systems.
A handful of components relay information between the truck and the home’s electrical system, appliances and lights. Once set up with a homeowner’s preferences, the system decides when the truck charges its batteries and when it sends electricity back to the house.
But such systems can be complicated, and some early adopters have encountered problems.
Kevin Dyer, a software quality engineer who lives near Los Angeles, has used electric vehicles since 2009 and bought an F-150 Lightning in September. He wanted the truck to help his family ride out the rolling blackouts that have become common in California in recent years.
“We finished the installation,” Mr. Dyer said. “The truck actually powered my house. That was the high-five moment. That’s when things kind of went downhill. It just basically works, then shuts off.”
Mr. Dyer, 59, said he hoped a software update or another modest fix would solve the problem.
Energy executives said the industry was working to improve and simplify the technology to connect electric cars to homes, something they said would happen within a few years.
Oliver Phillips, chief operating officer at Qmerit, said that over time more people would be able to easily combine solar panels, home batteries and electric vehicles. Put together, those devices will “bulletproof” people against power outages, he said.
Battery-powered vehicles could eventually play an even bigger role by providing energy to the grid when demand for electricity exceeds supply, said Gus Puga, owner of Airstream Services, an electrical, heating and cooling company that worked with Qmerit to install the system at the Reigards’ home.
Some energy experts have worried that the growth of electric cars could strain grids by greatly increasing demand for energy. Mr. Puga disagrees: “I believe we’re going to add stability to the grid.”
In the auto industry, some experts have warned that frequently using cars to power homes or the grid could degrade batteries faster, reducing range — the distance that vehicles can travel on a full charge. But automakers have played down those risks.
Ford and General Motors are keen on marketing the versatility of their battery-powered models to people who have suffered power outages or fear blackouts.
“It’s really a game-changer,” said Ryan O’Gorman, a business development energy services manager at Ford. “The truck is a giant power source. E.V.s are large and can power the house for several days.”
Mark Bole, head of energy connectivity and battery solutions at G.M., said the company planned to offer a package of devices and services so customers could get the most out of their electric vehicle. “What we see as absolutely key is making it simple and affordable for the customer,” he said.
But Mr. Pizarro, the utility executive, cautioned that energy and auto companies still needed to refine the technology allowing cars to send power to homes and the grid. He expects more problems to be identified as more people start to use electric vehicles for backup power.
“It’s the early days,” Mr. Pizarro said. “There will be surprises.”
Jane Birkin, the Anglo-French actress, singer and fashion icon best remembered for her decade-long romantic and artistic partnership with musician Serge Gainsbourg, died Sunday, French President Emmanuel Macron announced. She was 76.
“Because she embodied freedom, because she sang the most beautiful words of our language, Jane Birkin was a French icon. A complete artist, her voice was as sweet as her engagements were fiery. She bequeaths us tunes and images that will never leave us,” Macron wrote in a statement posted on Twitter.
Born in 1946 in London, Birkin began her career while still a teenager as part of the “Swinging London” scene of the 1960s. She appeared mainly in small roles in art and counterculture films, most notably Italian director Michelangelo Antonioni’s groundbreaking film “Blowup” (1966), which featured Birkin in a (for-the-time) controversial nude scene.
When she was 17, Birkin met 32-year-old composer John Barry; they married in 1965 and had a child, Kate Barry, in 1967, but divorced in 1968.
The next year, Birkin shot to stardom after landing the lead female role in the French romantic dramedy “Slogan,” where she met and became involved with her 40-year-old co-star Gainsbourg. That same year the couple collaborated on her first music album “Je t’aime… moi non plus.” The album’s title track, a sexually explicit duet cowritten by Birkin and Gainsbourg, was banned in some countries and criticized by the Vatican, but also became an international hit and enduring symbol of that pop culture moment. It remains her most well-known song internationally.
Birkin at this point moved to France permanently. She sang primarily in French and acted primarily in French cinema, though she did occasionally appear in English language films, such as the 1978 adaptation of Agatha Christie’s “Death on the Nile.” She was nominated three times for César Awards (France’s equivalent of the Oscars), the first time in 1976 for “Je t’aime moi non plus,” a film directed by Gainsbourg and inspired by their song, and the last time in 1991 for “La Belle Noiseuse.”
Birkin’s relationship with Gainsbourg ended in 1980, due largely to his alcoholism and abusive behavior, though the two remained close. She old CNN during an interview in 2006: “He and I became the most famous of couples in that strange way because of ‘Je t’aime’ and because we stuck together for 13 years, and he went on being my best friend until the day he died.”
Birkin and Gainsbourg had one child together, the actress and musician Charlotte Gainsbourg, in 1971.
In the 1980s she was in a relationship with director Jacques Doillon, with whom she often collaborated. They had one child together, actress, singer, musician and model Lou Doillon. The couple split in 1991.
Birkin was of course also a fashion icon, and today might be best known for the namesake handbag created by Hermès in 1984, still a highly prized (and very expensive) accessory.
Birkin is survived by her daughters Charlotte Gainsbourg and Lou Doillon, and her grandchildren. Kate Barry, who became an acclaimed fashion photographer, died in 2013 at age 46.
Since the even-keeled Jamie (Clayne Crawford), an Army veteran, returned home to New Orleans, times have been difficult: His daughter needs an operation. When his impulsive brother, Mic (Max Martini), approaches him about a bank robbery job, the financial gain becomes too much to ignore.
From its winding chase sequences to its immersive camera work, particularly the use of hand-helds, the screenwriter and director William Kaufman’s “The Channel” is a brisk, white-knuckle crime flick.
The heist scene is the gripping centerpiece in a film about the bond held by brothers. It sees Mic and Jamie entering the bank with the perfect plan, but upon leaving they’re ambushed by the F.B.I. The ensuing shootout, laced together by the editor Travis Medina’s riveting cuts, results in a mountain of bullets and the pair on the run. With the two people the pair betrayed hot on their heels, the brothers must find a way to keep the money, and their lives.
More action parody than horror film, the hilarious, gory “Cult Hero,” from the director Jesse Thomas Cook, features a character who’d feel at home in a cheesy 1980s B-movie. The double-gun-toting, sunglasses-wearing Dale Domazar (Ry Barrett) hosts a show called “Cult Buster” where he travels the country trying to uncover dangerous sects. But when an episode goes bad — resulting in the mass death of an entire clan — Dale loses his fame and money and winds up living in a musky trailer. It’s not until the self-absorbed real estate agent Kallie Jones (Liv Collins) approaches him to spring her husband from a cult led by Master Jagori (Tony Burgess) that he sees a chance for a comeback.
Apart from the brawling sequences — Master Jagori repeatedly sends his followers to murder Kallie and Dale — what really makes “Cult Hero” stand out are the committed performances. Barrett’s sharp timing, cheesy appearance and oversize bravado recalls Steven Seagal or Hulk Hogan, while Collins delivers inspired quips and sight gags. The film even has a bopping revivalist folk song that’ll keep your foot tapping, as the body count climbs.
This apocalyptic film from Eric McEver is visually rich. It recounts how a Japanese director decided to make a movie about his premonition that a cadre of old gods imprisoned at the center of the earth might one day return to annihilate humanity. He makes an anime to instruct the viewer how to defeat these beings. Not only did the film bomb — ending the director’s career — but the print became lost in a warehouse fire.
On the eve of the new millennium, somehow, the nerdy Oklahomans Shawn Gunderson (Quinn Lord) and his best friend, Vik Kapoor (Ronak Gandhi), have found a copy of the film on tape. They watch the anime with Miki (Christina Higa), a Japanese transfer student. The lost movie ends up turning Shawn into Ultraman and Vik into a Kaiju. With Miki, they must defeat the awakening gods and the local cult trying to revive them.
What “Iké Boys” lacks in budget, it makes up for in ingenuity and spirit. When the big action sequences happen, McEver turns to vivid animation to fill in the blanks. The film’s lovably corny Kaiju costume recalls the Toho monster movies of the 1960s, and when the big emotional beats arrive, this tight, emotive cast delivers the theme of being yourself no matter what, with aplomb.
This film, which, like “The Channel,” is about a veteran who’s in too deep, features Sam Worthington as the single, widowed father Ryan Logan. A couple of years prior, Ryan’s pregnant wife died in a car crash, forcing Ryan to retire from the military to care for his son, Billy (Edward Carmody), who survived the accident. Now, Ryan’s job as a wine salesman barely brings in enough money to pay for his son’s schooling, and Billy continues to brush against the law, leading to him wrecking a rich lawyer’s car.
To earn some cash, Ryan turns to his old army buddy Johnny (Matt Nable), who proposes they rob an apartment containing money that belongs to Johnny’s crime boss.
Nable also wrote and directed the film, which has sturdy action sequences, like a sharp shootout by Ryan and Johnny against the crime boss. But also, with themes like PTSD, grief and self-harm, the film thrives as an affecting, understated family drama, boosted with an unforgettable, tender performance by Worthington.
Not all heroes are celebrated. We get that sense at the beginning of Michihito Fujii’s film. Scenes of a young boy named Yu watching a Noh production are intercut with his father preparing to set himself ablaze after killing an industrialist who was planning to move a waste management plant to the village. The factory still came.
Because of his father’s actions, the adult Yu (Ryusei Yokohama) is reviled around town. To pay down his mother’s gambling debt, he works tirelessly day and night burying toxic waste in landfills for the plant. When his childhood sweetheart Misaki (Haru Kuroki) returns to town wanting to start a relationship, the opportunity for a better life arises. But the past doesn’t die easily.
A taut crime film, “The Village” features big bad guys like the hateful Toru (Wataru Ichinose) and crummy industrialists using gangster tactics. But it’s the internal conflict within Yu, whether to give up his prosperity by becoming a whistle-blower or remain the plant’s well-compensated puppet, that allows the film’s ethical edge to deeply embed itself in the viewer.
Kajol sparks controversy after she said she wants to know Pathaan real box office collection while Vicky Kaushal shares photos with his love Katrina Kaif on her birthday.
Kajol sparked a controversy after she revealed she’d like to ask Shah Rukh Khan about the ‘real’ box office collection of Pathaan. His comeback film, Pathaan was one of the biggest blockbusters of Bollywood. Having surpassed a worldwide collection of Rs 1000 crore collection, it made history with its box office report. While murmurs about the box office collection have been seen online, Kajol’s statement about Pathaan box office collection may have fuelled the discussion. Speaking with Live Hindustan, The Trail star was asked to reveal a question she’d ask SRK. The actress replied with a giggle, “How much did Pathaan really make?” She followed it up with a laugh but the video has drawn attention from many.
Katrina Kaif is celebrating her birthday today and wishes has been pouring in from all sides. From Arjun Kapoor to Sunny Kaushal, the Phone Bhoot actress got all kinds of acknowledgement today. And it seems her birthday is finally complete now after Vicky Kaushal’s mushy birthday post for his lady love. On Sunday, Vicky Kaushal took to his Instagram handle to share a couple of pictures from their undisclosed romantic getaway. The lovebirds can be seen looking at each other romantically with the ocean and the setting sun in the backdrop. Katrina wore a yellow dress and Vicky looked ecstatic in his white shirt. Needless to say but their chemistry was palpable. He penned the caption, “In awe of your magic… everyday. Happy Birthday my love!.”
Kartik Aaryan and Kiara Advani’s recently released film Satyaprem Ki Katha has been earning rave reviews and the box numbers are proof. The film witnessed tremendous acceptance across all age groups and families, resulting in great word of mouth ensuring a solid upwards growth. With this, the film is racing towards splendid weekend numbers. With all the love and great positive word of mouth from the audience, the film collected 1.75 Cr. on Saturday making its India total amount to 73.96 Cr. Nett. With this, the film has emerged as a surprise hit of the year.
Shah Rukh Khan starrer Jawan Prevue has released this week and has created a lot of buzz on social media. It is because of Atlee’s grand vision, a stellar star cast of Nayanthara, Vijay Sethupathi, Sanya Malhotra, appealing visuals, Anirudh Ravichandran’s music and most importantly Shah Rukh Khan’s ever-encompassing presence. To add an extra layer to the excitement, there were rumours that Kiara Advani might be making a cameo during a song in the film. However, industry sources have rubbished such rumours. A source close to the entertainment portal Bollywood Hungama divulged,”These rumours are absolutely baseless. No song has been shot, nor Kiara Advani has any cameo in the film. Jawan is such a huge film, everyday one hears of one rumour or the other.”
Shah Rukh Khan and Gauri Khan’s daughter Suhana Khan enjoys a massive fan following. The young star kid is all set to make her film debut this year with Zoya Akhtar’s The Archies. As the glamourous star kid gears up for her big acting debut, she is painting the town red with her charm. Confused? Well we got you covered. On Sunday, Suhana Khan took to her Instagram Stories and shared a picture from her recent outing with her cousin Alia Chhiba. Draped in a gorgeous red saree, Suhana Khan looked all shades of stunning as she posed with Alia and one other girl. She paired her look with a light shade of lipstick and minimalistic accessories. The trio posed against the backdrop of a grey coloured wall that had some paintings hanging from it.
Deadpool 3 just added to its cast, and the details will blow your mind.
Sadly, Deadpool 3’s principal photography just closed due to the Hollywood strikes. And Marvel will apparently make fewer and cheaper projects from now on.
A lot has changed since then, though. For starters, Jackman famously retired as Wolverine in the de facto swan song of Fox’s X-Men franchise, Logan.
Yes, other X-Men films came afterward, but that’s the one people remember.
Image: Fox
Meanwhile, the unlikely gambit of a Deadpool film paid unimaginable dividends in 2016, with the Ryan Reynolds flick grossing $782 million…on a $58 million budget.
Deadpool 2 cost nearly twice as much to produce at $110 million, but it also grossed $785 million.
Source: Fox/ Marvel
A third Deadpool sequel felt inevitable, but there was a fly in the ointment. Disney acquired Fox’s assets in 2019, including Wolverine and Deadpool.
Ever since then, people have wondered whether family-friendly Disney would release a decidedly hard-R movie like Deadpool 3.
That answer proved to be yes, albeit with the brilliance of persuading Jackman to return to the role.
Source: Fox/ Marvel
Deadpool 3 looks like a surefire blockbuster on paper. But the new Fox-Marvel under Disney isn’t taking any chances.
The casting for the project reinforces this point.
Let’s Talk Superstar Superhero Cameos
Source: Marvel
This past week, we learned that Jennifer Garner will return to a long-forgotten role she once played.
In 2003, Garner co-starred in Daredevil alongside her future husband, Ben Affleck.
Garner found romance on the set and always held bragging rights because people liked her performance better than Affleck’s.
Not coincidentally, we never received a Daredevil 2 in theaters. Instead, Fox created an Elektra spinoff…that was an absolute disaster.
That project cost more than it earned, making it one of the worst bombs of 2005. Nobody expected Garner to appear as Elektra again.
However, Garner is quite famous and extremely well-liked in the industry. And Deadpool 3 is clearly gonna try some stuff.
Sir Ian McKellen (81) seen here kissing Sir Patrick Stewart(80), both men are “eligible” to receive the vaccine.” Photo: Stuart C. Wilson/Getty Images
So, none of us should be that surprised by the announcement that Garner will again take on the role of the vinyl-clad assassin.
Similarly, rumors are percolating and basically confirmed that Ian McKellen and Patrick Stewart will return as Magneto and Professor X.
If you remember the Fox films, these announcements should confuse you, as several of the characters we’re discussing are currently dead.
Photo: Fox
That statement applies to Wolverine, too. If you’re wondering about that, I can explain it. Skip the next two sentences if you don’t want to know.
Yes, Deadpool 3 will involve time travel…enough that literally anyone from the Fox franchise could appear, save for the X-Men: First Class group. None of them will appear, but everyone else in the MCU is in play.
Source: Marvel
We’ve got pictures of some of the surprise characters appearing on social media, and you’ll have plenty of time to see them.
I say this because the SAG-AFTRA strike started this past week.
For that reason, Deadpool 3 has stopped filming indefinitely. And that’s our next story.
The Strike and Bob Iger
Photo: Getty Images
For the first time since 1960, the Writers Guild of America and SAG-AFTRA, Hollywood’s acting guild, have simultaneously chosen to strike.
Due to this decision, all the stuff I mentioned last week is now real. Comic-Con has suffered several cancellations and will be a ghost town this week.
Most people had figured out already that the event was in trouble, at least for 2023 and possibly for a while. Comic-Con has lost its luster since 2019.
The more pressing issue involves the strike’s impact on Marvel productions.
Source: by Chelsea Lauren/Variety/Shutterstock (10341985ce)
Everything is now shut down and will remain so for the body of the strike.
Sadly, that may be the tip of the iceberg as well. Bob Iger, CEO of The Walt Disney Company, appeared on CNBC this past week.
You can watch his Marvel comments here:
That’s the person who is ultimately in charge of Marvel, the one who spearheaded its purchase, saying he will produce less Marvel content.
YIKES!
Oddly, in this instance, Iger is giving the fans what they’ve claimed to want.
Critics have lamented that Marvel has spread itself too thin, telling too many stories and introducing too many new characters.
Source: Marvel Studios
During the strike, Iger and Marvel leader Kevin Feige will take their time to decide on the proper budget and amount of Marvel content from now on.
Iger obviously believes that less is more. I’m a “more is more” guy since that’s a tautology. The CEO’s comments alarm me for this reason.
Marvel Miscellany
Source: @brielarson
We will cover the strike more next week since that’s obviously the big story right now…and will be for a while.
However, there are still a few tidbits to discuss. My favorite of them involves Ms. Marvel star Iman Vellani.
The MCU superfan just confirmed that she has a new Marvel project, but it’s not what you think. She isn’t starring in a new film.
Remember how Marvel recently killed off Kamala Khan in a seemingly throwaway Spider-Man story?
Source: Marvel Studios
Apparently, Marvel had a plan in place to reboot the character…with Vellani writing the new comic!
The actress who portrays Ms. Marvel will write Ms. Marvel: The New Mutant, which ties into the big reveal from the Disney+ series. How great is that?!
Source: Marvel Studios
Speaking of which, Ms. Marvel earned three Emmy nominations due to its quality!
On a different Marvel note, Anson Mount, the actor who portrays Black Bolt in the MCU, recently hinted that he may return to the role yet again.
Source: Marvel Studios
Black Bolt’s surprise appearance in Dr. Strange in the Multiverse of Madness surprised many since The Inhumans bombed as a television series.
Obviously, Marvel likes Mount a lot and wants him to return.
Source: Marvel
Finally, we also learned due to some excellent reporting by the always impressive Caroline Reid at Forbes that Secret Invasion ran over budget.
Specifically, Disney paid $211.6 million for the six-episode series, which breaks down to $35 million an episode. That’s…too much.
When you hear that number, you can understand why Iger is reevaluating Marvel expenditures.
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Nathan Fillion is set to debut a brand new Green Lantern in 2025’s Superman: Legacy, and some excellent fan art offers a look at what he could look like as Guy Gardner. The Rookie star was announced as part of James Gunn’s surprising cast reveals for the new Superman reboot, alongside Isabela Merced as Hawkgirl, Edi Gathegi as Mister Terrific, and Anthony Carrigan as Metamorpho who join David Corenswet as Superman and Rachel Brosnahan as Lois Lane.
Fillion’s casting, which follows not only his appearance as TDK in The Suicide Squad but also his record of being cast in every James Gunn movie, prompted a mix of excitement and disappointment. While Fillion playing a Green Lantern is unquestionably a great move for the DCU reboot, Guy Gardner is not the character most would choose for him to play, particularly as he’s already played Hal Jordan before. But James Gunn has his reasons, and with Hal Jordan appearing in the upcoming Lanterns TV show, Gardner joining the superhero community around David Corenswet’s new Superman is still a win, and this fan art compounds that excitement:
Though he’s missing Gardner’s iconic – some might say notorious – bowl cut (which James Gunn has confirmed will appear in Superman: Legacy), there’s no denying Fillion looks the business in Gardner’s leather jacket-style Lantern costume.
Why Nathan Fillion’s Green Lantern Casting Is Controversial
On top of the question of Superman: Legacy‘s cast of superheroes potentially contradicting the idea of it being a Superman solo movie (and opening old wounds for Snyderverse fans who remember similar criticisms leveled at Batman v Superman), Nathan Fillion’s Green Lantern casting has inspired debate. Fillion is an older addition to the cast, which is by no means a problem, but could change Guy Gardner’s DC Comics origin, which saw him recruited as a 21-year-old. In actual fact, an older Gardner delivers on James Gunn’s promise of a “lived-in superhero world”, immediately suggesting longevity and changing the usual set-up of a world where superheroes are all brand new. That’s no bad thing.
On top of the age question, Fillion doesn’t fit the profile of Gardner’s comics iteration: he can probably pull off the obnoxious side of the character, but he’s not the muscle-bound jock DC fans may expect Earth’s second Green Lantern to be. Someone like Reacher‘s Alan Ritchson is a more obvious match for the former football star, and indeed Ryan Reynolds probably suited playing him more than he did Hal Jordan. Then again, James Gunn has precedent with stunt casting working out (who would have expected Chris Pratt to work as Star-Lord or Bradley Cooper as Rocket Raccoon, after all?), and superheroes are incredibly malleable. Superman: Legacy may actually benefit from a slightly softer, wiser version of Guy Gardner. Or maybe we’ll just see a Nathan Fillion performance that challenges expectations entirely…
Payday 3 will require an online connection to play the game, even in single-player.
Speaking on a livestream, Starbreeze‘s global brand director Almir Listo confirmed that the game, which offers both multiplayer and single-player gameplay, will require an online connection regardless of which mode is chosen.
When asked if the game could be played offline, Listo responded: “No. You will be able to play by yourself, but I do believe you will have to have a connection in order to play, because it’s made in Unreal Engine and has cross-progression and cross-play, I do believe we need you to be online.”
VGC has reached out for clarification on this.
The news has been received poorly on social media platforms for the game, with the game’s subreddit being filled with memes about a potential shutdown for the game in the future.
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Should the always-online connection be required, it means that the preservation of the game, and a player’s ability to play it, would be entirely limited by how long the game is supported.
It also means that any physical copies of the game would be entirely useless, should a server shut-down occur.
In our recent preview of Payday 3 we said: “We can foresee getting the perfect stealth heist on the game’s highest difficulty to be a Sisyphean challenge for some friend groups, but for others, it’s a whole new level of replayability for the game.
“Payday 3 seems like it has all of the ingredients necessary to pull off its lofty goal of emulating the classic heist films of Hollywood, but the question remains whether its new stealth systems will be fully embraced by a player base that has gotten so used to the ‘shoot first, ask questions later’ action of the previous games.”
It’s amazing Barry Lyndon exists, and we can watch it over and over again.
There’s just something that keeps us coming back to Stanley Kubrick. His touch and care with the camera draw us in over and over again. One movie that sneaks up on you and beckons to be watched multiple times isBarry Lyndon.
Barry Lyndon is Stanley Kubrick’s 1975 magnum opus and is often heralded as a cinematic masterpiece. Its intricate blend of natural and artificial lighting techniques, coupled with painstaking attention to detail, brings the 18th-century world to life with a degree of authenticity seldom seen in period dramas.
Today, we’re going to examine how Kubrick harnessed natural light and innovative cinematographic techniques to make this movie pop. Yes, we will talk about the famous NASA lenses, candlelight, and the challenging outdoor, daylight cinematography that eschewed electric light.
Let’s dove in.
‘Barry Lyndon’Credit: Warner Bros.
The Genius Behind Barry Lyndon
There’s really nothing I can write here to bolster the name of Stanley Kubrick. He has a name synonymous with cinematic brilliance. The thing I most respect about him is that he never stopped challenging himself. With Barry Lyndon, Kubrick created the film’s unique aesthetic appeal is a testament to the meticulous planning and innovative techniques employed by Kubrick and his seasoned cinematographer, John Alcott.
Locations can bring a sense of realism and scope to your storytelling. Kubrick’s choice of filming locations played a crucial role in Barry Lyndon.
The crew filmed on location across England, Ireland, and certain parts of Europe over a span of eight months. The diverse landscapes and unpredictable weather posed challenges but also added a natural charm to the film. The changeable weather often resulted in abrupt shifts in lighting within a single scene, adding an unscripted naturalism to the film.
Harnessing Natural Light: A Kubrick Special
Kubrick’s insistence on utilizing natural light was a defining aspect of Barry Lyndon. Despite the limitations it imposed on the film’s aesthetics, the results were breathtaking. Kubrick and Alcott’s ability to adapt to the whims of nature is evident in the film’s outdoor scenes, where the changing light conditions create a unique atmosphere that enhances the narrative.
Alcott’s go-to lighting source in a pinch was a Lowel 1,000-watt light that bounced through umbrellas or the ceiling. He mostly stuck to ARRI cameras and Zeiss lenses, and, on all of Kubrick’s films, he always had an Angenieux zoom on hand.
Kubrick shares a joke with O’Neal and Berenson during ‘Barry Lyndon’Credit: SK Film Archives LLC, Warner Bros. and University of the Arts London
What Was Barry Lyndon Shot On?
The movie was shot on film using the Arriflex 35BL Camera, the Mitchell BNC Camera, the Canon K35 Prime Lenses, the Carl Zeiss Planar 50 mm f0.7 Lens (Modified by Ed DiGiulio), the Carl Zeiss Planar 50 mm with Kollmorgen Adaptor 36.5 mm f0.7 (Modified by Ed DiGiulio), the Cinema Products Cine-Pro 24-480 mm T9 Zoom Lens, and Cooke Varotal 20-100 mm T3.1 Zoom Lens.
From left to right: Tony Lawson editor. Behind him John Alcott-DOP. June Randall-continuity. Doug Milsome-focus puller. Kubrick in the back. Credit: Criterion
The Zeiss f0.7 50 mm Lens
As the legend goes, Kubrick needed a lens that would capture the lowest light possible. So he reached out to NASA to see what they were using.
The acquisition of NASA’s Zeiss f0.7 50 mm lens was a turning point for Barry Lyndon.
This extremely fast lens, originally developed for photographing the dark side of the moon, allowed Kubrick to film scenes lit solely by candlelight. This lens’s unique features required significant modification to fit Kubrick’s Mitchell BNC camera, marking a significant innovation in filmmaking technology.
“Stanley read an article in the ‘American Cinematographer’ reporting about a ZEISS 0.7/50 mm lens and got most excited. He asked me to research this. I called ZEISS and spoke to a Dr. Kämmerer, who explained that this lens could not be used on a motion picture camera since the rear element is only a little more than 5 mm from the film-plane. I told this to Stanley, and, typical for him, he was not ready to take a ‘no’ for an answer and investigated whether there is a camera with this clearance of 5 mm. A reflex camera is clearly not possible since there is no room for a reflecting mirror, but 5 mm should still be enough room to allow a rotating disk. To make a long story short: I bought one lens and took it to Ed Di Giulio after Stanley had long talks with him. Ed re-worked the receiving mount of a Mitchel BNC and made it purely dedicated to this lens. After the test were successful, I bought two further lenses for potential conversion to other focal lengths. All are installed now in the Stanley Kubrick Exhibition except the one which I held back.”
Shooting scenes in candlelight was a challenging feat, considering the vast interiors of the stately homes utilized in the film. However, Kubrick’s determination and innovative spirit led to the creation of some of the most memorable scenes in Barry Lyndon.
The candle-lit scenes shot using the modified Zeiss lens, lend an authentic feel to the film, transporting the audience to the heart of the 18th century. They make every frame feel like a painting and invite you into a time period that’s as much worldbuilding as it is cinematography.
While natural light played a significant role in Barry Lyndon, it was not the sole lighting source. Many of the film’s scenes required conventional lenses and lighting techniques, particularly during the film’s second part.
Consequently, a delicate balance between natural and artificial light was maintained throughout the film, resulting in a visual spectacle that is both contemporary and authentic.
‘Barry Lyndon’Credit: Warner Bros.
The Slow Zoom-Out: A Kubrick Signature
Another noteworthy aspect of Barry Lyndon is the frequent use of the slow zoom-out, achieved using an Angeniux 10-to-1 zoom lens on an Arriflex 35BL. This technique serves both a practical and symbolic purpose, allowing the audience to focus on specific elements before revealing the entire scene and emphasizing the insignificance of individual actions in the grand scheme of life.
It also became a defining metaphor for the story of the movie. Will this one personal journey amount to anything in the scope of a world like this, does it even matter?
Summing Up Stanley Kubrick’s Barry Lyndon And The Art of Filming in Natural Light
When I watch a Kubrick movie, I always feel challenged to dig into it more. So that’s probably what I’ll be doing for the rest of the week. Barry Lyndon is a testament to Stanley Kubrick’s genius and his ability to push the boundaries of conventional filmmaking.
The film’s unique blending of natural and artificial light, its meticulous attention to detail, and its innovative use of technology have cemented its place as a masterpiece in cinematographic history. Its impact continues to resonate with filmmakers and audiences alike, underscoring the enduring legacy of Stanley Kubrick’s most visually striking film.
Take any lessons you got from this and go make something great.
Christopher Nolan is detailing how technology could potentially hurt his own personal screenwriting process.
The “Oppenheimer” writer-director revealed to The Hollywood Reporter that he does not carry a smartphone, and while writing, uses a computer that is not connected to the internet.
“My kids would probably say I’m a complete Luddite,” Nolan said. “I would actually resist that description. I think technology and what it can provide is amazing. My personal choice is about how involved I get.”
Nolan continued, “It’s about the level of distraction. If I’m generating my material and writing my own scripts, being on a smartphone all day wouldn’t be very useful for me.”
Nolan penned “Oppenheimer” in first-person, a tactic he had “never done before” during his career.
“I don’t know if anyone’s ever done it before,” Nolan said earlier this year in an Empire magazine interview. “But the point of it is, with the color sequences, which is the bulk of the film, everything is told from Oppenheimer’s point of view — you’re literally kind of looking through his eyes.”
The approach to writing the historical script was rooted in “the idea of how we get in somebody’s head and see how they were visualizing this radical reinvention of physics. One of the things that cinema has struggled with historically is the representation of intelligence or genius. It very often fails to engage people.”
Nolan also noted to Wired that he is “optimistic” about the role of AI in filmmaking — but warned against viewing the technology as anything more than a “tool” of assistance.
“If we accord AI the status of a human being, the way at some point legally we did with corporations, then yes, we’re going to have huge problems,” the “Tenet” director said. “The issue with AI, to me, is a very simple one. It’s like the term ‘algorithm.’ We watch companies use algorithms, and now AI, as a means of evading responsibility for their actions. If we endorse the view that AI is all-powerful, we are endorsing the view that it can alleviate people of responsibility for their actions — militarily, socioeconomically, whatever. The biggest danger of AI is that we attribute these godlike characteristics to it and therefore let ourselves off the hook.”
For all the details on “Oppenheimer,” which opens July 21 from Universal, click here.
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The real-life BarbieDreamHouse is reopening its doors in Malibu soon — but this time, the three-story Airbnb promises big Kenergy. The seaside property with panoramic views first went up for rent in 2019, and Ken has redecorated the bright pink pad ahead of Greta Gerwig’s highly-anticipated Barbie film.
Dreams will come true for up to four people on Monday, July 17 starting at 10 a.m. PT, when reservations open up for the Malibu DreamHouse on Airbnb.com. Up for grabs are two free one-night stays for up to two people each night on July 21 and 22.
In the newly renovated “Kendom,” lucky guests can snooze in a tufted seashell bed, which is now covered in Ken’s Western bedding. The closet is filled with looks ready for Venice beach or the rodeo, such as fringed cowboy shirts, animal print button-downs and more of Ken’s favorite things mixed in with a few of Barbie’s wardrobe essentials. (Note that the pieces are for dress-up only.)
Courtesy of Joyce Lee/Airbnb
Guests can have a splash into the oceanview pool, but they won’t be able to ride down the two-story slide — because just like in Barbie Land, some things are just plastic. Other slightly off-reality touches in the Kendom include a poolside fire pit, the Ken-ecue (he’s done away with the Barbie-cue), a disco roller rink with a DJ deck and a rooftop gym featuring jars of Ken’s Beefy Body Brine (the workout weights, however, are as heavy as in the Real World.)
Unlike most Airbnb rentals, guests will get to take home a pair of Impala neon skates — which are now sold out online — and surfboards, similar to the ones seen in the movie. Those who score the reservation will be responsible for getting themselves to Malibu. (It might be a good time to call up Pilot Barbie.)
“As you probably know, I’m a beach guy — and Malibu is the ultimate oceanfront paradise, with its never-ending sunshine (don’t forget your cowboy hat and sunscreen!), beaches as far as the eye can see, and surf shops everywhere,” writes Ken in the listing. “Nearby, you’ll find every beach activity you could ever dream of: sunbathing, shopping, surfing, and the best boardwalks for rollerblading (thank me later). This place is selfie central too, so be sure to snap some photos along the way.”
Courtesy of Joyce Lee/Airbnb
Starring Margot Robbie as Barbie and Ryan Gosling as Ken, Barbie follows the iconic pink-loving protagonist as she faces an existential crisis and leaves Barbie Land (in her pink Chevrolet Corvette convertible, no less!) for the Real World. Co-written by Gerwig and partner Noah Baumbach, the romantic comedy also stars Kate McKinnon, Dua Lipa, Issa Rae, Ritu Arya, Michael Cera and Emerald Fennell as Mattel dolls in the flesh and America Ferrera, Helen Mirren, Will Ferrell and others as humans.
Airbnb will celebrate the film with a donation to Save the Children to support equal access to learning resources for children, families and communities in over 100 countries. The funds will help “to build girls’ confidence and help them excel in school – ensuring everyone has equal opportunity to achieve success,” per a release.
While only a handful will realize their DreamHouse, uh, dreams, anyone can deck out their digs in Barbiecore. Mattel and the Warner Bros. film continue to roll out collaborations to promote all things Barbie (as they have been for the last year). Below, shop some of the official movie merch and other popular pink picks inspired by the film, and don’t forget to set your alarm for July 17 at 10 a.m. PT and try your luck at booking the DreamHouse here.
KODAK Printomatic Digital Instant Print Camera
Kodak’s Printomatic digital camera — in chic Barbie-inspired pink — instantly prints out your memories on ink-free Zink photo paper.
Amazon
KODAK Printomatic Digital Instant Print Camera $49.99 on Amazon.com
After seeing her official Barbie doll for the first time, Margot Robbie gushed over her mini version, saying, “actually incredibly accurate … this is so good.” Showcase your doll devotion and collect all of the official Barbie the Movie characters in fantastic plastic, starting with this one of the film’s star.
Amazon
Barbie The Movie Doll Margot Robbie as Barbie $24.97 on Amazon.com
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It started out being called “The Lucky Ones.” “I love this title,” he told IndieWire during a recent interview. “But it was forbidden, because there was a wave of copyright problems.” When he came up with “The Red Sky,” referring to the film’s wildfire encroaching on his trio of Baltic Sea vacationers (Beer, Thomas Schubert, and Langston Uibel), “This was also forbidden for use. They said the word ‘afire’ and I said, ‘it sounds good.’”
Petzold was working on adapting a dystopian novel during the pandemic, but when he contracted COVID, he put it aside. “To erase-delete, to delete it out of my mind, this was the hard work on ‘Afire,’ he said. “I’m a Protestant and to throw something away is a sin. It’s a waste, and this waste script is always shouting from the corner of my office like a child which wants to be adopted. ‘Realize me! Realize me!’”
But he was enjoying inventing “Afire.” “It was such a happy time, to write it,” said Petzold. “It was like a refreshment each day. I like the atmosphere that is a little bit like Shakespeare’s ‘A Midsummer Night’s Dream.’ There is a forest glade in the night where there are nymphs. It’s so affirmative. And the bad dystopian novel is always shouting like a black shadow: ‘You are not this guy! You are not this type of director who wants to create a light hedonist thing. You’re a dystopia guy.’ And so this was a hard time.”
Along with exploring primal impulses by the Baltic Sea, the movie is also a comedy of manners, much like Jean Renoir’s “Rules of the Game,” as three combustible characters confront each other. “This story of two boys and one girl and then a third boy,” said Petzold, “There are fairytales there. There’s music. There’s summer. There are nights. These stories have been told for hundreds of years. And I’m a big fan of Eric Rohmer. And many critics said that Eric Rohmer is always making the same movie. Always. Fifty times in his life, always the same movie. But for me it’s not boring. He’s making the same movie like we are, making always the same story but the difference is the thing. And the difference is studying our time, where we are living, how the people are accusing each other, how the people are touching each other, how they are dancing. This is completely different between 1980 and 1985. So this difference is, for me, cinema.”
The script started out to be “racy and sexy,” said Petzold. But while there’s plenty of sex in the movie, it all takes place behind closed doors. “I don’t want to show naked bodies of actors,” he said. “Do they make sex? I don’t like this. I never believed this. There are one or two examples in the history of cinema. Like ‘Don’t Look Back.’ But I don’t want to see actors naked making sex. Mostly, the woman is now sitting on the men, because then they could have dialogue during sex. And they can can make shot-counter-shot action-reaction. And this is everything I don’t like.”
“Afire”Christian Schulz
That’s why Petzold placed a microphone in the room where his actors simulate sex as the crew leaves the house. “For me, the most intense way to have sex in the movies is the sound,” he said. It all goes back to hearing his parents having sex as a child, of course. “It was traumatic for me. So to hear something is more cinema than to show it.”
He told his actors, “You’ll never be naked in this movie. You don’t have to create a sexual desire in a bed in front of a camera. But someone can hear you. No problem.”
But it was a problem for the actors, said Petzold. “Because it’s very hard to lie. When you are a child, you can hear the the adults and the parents that are lying to you. And so also the audience is like little children. They can hear if someone is lying. So the actors had to play their sexual desire and their enthusiasm and everything with their voice and so they’re exhausted after this three minutes of when the microphone is working.”
Shooting the movie was a pleasure for Petzold because he learned from his actors, who added an unexpected perspective. “These young actors bring something into this movie,” he said, “which is not in the script. They bring their bodies, their experiences, their laughing, that kind of humor, which has something to do with, they said to me later, ‘we are here in the summer in a summer movie and we have the feeling there are hundreds of summer stories before but this could be one of the last because we are destroying the environment.”
“Afire”Sideshow/Janus Films
As three of the characters romp and play during this idyll, paying no heed to the wildfire that is getting closer, narcissistic writer Leon (Schubert) is caught up in polishing his book before his publisher arrives to read it, and takes his anxiety out on everyone around him. Schubert pulls in the audience as we root for Leon to become aware of the possibilities for listening to others around him who are experiencing pleasures that he’s letting go by.
Petzold was afraid that everyone would react badly to Leon, but found the right dynamic at rehearsals three weeks before shooting, when he set Schubert up to arrive at the outdoor supper table as everyone is having a fine time. (“All these assholes, they don’t like me,” he said.) “From this moment on, all the other actors want to embrace him as if he’s the victim,” said Petzold. “And so in this moment, I know that we will not hate him. It’s a portrait of an asshole who doesn’t want to be an asshole. So he is fighting against himself. And this is a comedy structure.”
The actors also clued Petzold into the fact that he had been writing about himself all along. “At the beginning, when I start to write the script, I’m always laughing about the character Leon,” he said. “And I never thought that Leon has something to do with me. Never. It was this completely different guy. But during the rehearsals and during the shooting the actors asked me, ‘Do you have the same problems on the second movie?’ I said, ‘Yes, I have problems like this because the first [TV] movie [1995’s “Pilot”] was a success.’ I received directly money for the next one. And I was infected by the success.”
As he was directing the 1996 TV movie “Cuba Libre,” based on Edgar Ulmer’s “Detour,” his girlfriend (soon to be wife) visited him on the set. “She came to me and said, ‘Do you know what you are doing? You are playing director.’ And she was totally right. I’m playing director,” he said. “I’m playing a cineaste who knows many, many movies. And all of this crew, they loved me, because I’m always talking 24 hours a day. And so, everything was not right.”
“Afire”Courtesy Sideshow/Janus Films
After the “disaster of the second movie,” Petzold changed. He spent a month in Berkeley with his best friend and collaborator Harun Farocki talking about the future of cinema. When Petzold and his wife had a baby, he stowed his “self-searching in the fridge,” he said. From then on, he wrote his own independent scripts, stayed in Germany, hewed to authentic stories.
Six of them starred Nina Hoss, and the last three, Paula Beer. Petzold rejects the notion that either Hoss or Beer has ever functioned as his “muse.” It’s a meme he can’t shake, “but it doesn’t bother me,” he said.
As for Beer and Petzold, “You have a friendship level and the work level, and you have to sort it out,” she told IndieWire. “Even though we’re friends, it doesn’t mean I will play your next character, and I don’t expect you to let me be part of your next movie. As soon as that happens, you get hurt, and it gets mixed up, and then it’s chaos.”
The yin to Leon’s Yang is Beer’s character Nadja, who Petzold wrote as an independent spirit who is not defined by the men around her. “Paula and I had long discussions about young women in movies, actress and director, male, 60 years old,” said Petzold. “Nadja is always working, setting ice cream on the bicycle, or washing dishes. She’s always doing something for herself, not for the camera, and not for the other guys. She’s so modern. And all of our decisions: she has no silk underwear, no naked breasts. She is not dancing the night half naked through the garden. She’s not working for the eyes of men.”
In Petzold’s sunny fairy tale, though, the fire does arrive, inevitably, tragically. There is dystopia in the movie. The shadow from the office, the darkness crying out from the corner gets its way — after all.
A Janus Films and Sideshow release, “Afire” is in theaters now.
Christopher Nolan’s Oppenheimer, set for theatrical release July 21, tells the story of the creation of the atom bomb from the perspective of J. Robert Oppenheimer, the lead scientist in the Manhattan project. While much has been made of Nolan’s filmmaking process, little is publicly known about how the film reckons with Oppenheimer’s legacy, which extends from 1945 into our present day as the risk of nuclear weapons reaches new heights and survivors of nuclear weapons production and testing are still fighting for recognition from the U.S. government.
As media prepares to cover “Oppenheimer,” here are eight things to keep in mind:
1. The Trinity test was not victimless. Nearly half a million people lived within 150 miles of the Trinity test site. They were not evacuated or warned of the test, and the U.S. government was not honest with workers or the American public about the risks of testing and nuclear weapons production. Survivors of the Trinity test and their families have been denied access to compensation for nuclear testing victims.
2. The Trinity test was just the beginning. From 1945-1962, the U.S. government conducted over 200 above-ground nuclear tests. These tests spread radiation thousands of miles away from test sites, exposing many to unsafe levels of radiation. Atmospheric testing at the Nevada Test Site was estimated to have caused between 11,000 and 212,000 cases of thyroid cancer in the U.S. public. In the Pacific Islands, the U.S. tested 67 nuclear weapons in the Marshall Islands between 1946 and 1958 – the equivalent explosive yield of dropping one Hiroshima-sized bomb a day for 20 years. Nuclear tests vaporized some islands completely, spread radioactive contamination across the islands leaving many permanently uninhabitable, and caused lasting harm to Marshallese land, health and culture.
3. Survivors of nuclear weapons production and testing are still fighting for justice and health care. The Radiation Exposure Compensation Act (RECA) was established in 1990 to compensate individuals who suffer from cancers and other illnesses related to the testing of nuclear weapons, known as Downwinders, and uranium mining for nuclear weapons. Downwinders in Arizona, Colorado, Idaho, Montana, Nevada, New Mexico and Utah, and uranium miners are currently fighting to be included in the program. Similarly, the Marshall Islands is still fighting for restitution for the harms caused by U.S. nuclear tests.
4. Past nuclear weapons production and testing are still hurting people today. The legacy of the production and testing of nuclear weapons has had tragic consequences that people are still living with today, poisoning workers, polluting Indigenous communities, sickening and killing tens of thousands of people with toxic radiation in the United States and abroad.
5. The harms of radiation exposure are not borne equally. Indigenous populations in the United States and in the Pacific Islands, as well as other communities of color and poor, rural communities have suffered disproportionate harm from the production and testing of nuclear weapons. Mining for uranium for nuclear weapons took place largely in the western and southwestern United States, often on tribal land, and many of the workers were Indigenous. To this day, some tribal communities’ water sources and land are still contaminated with dangerous materials from mining activities. Safety information was often available only in English and translations into Native languages were generally not made available. Workers, unaware of the risks, often brought contaminants home to their families on their clothing. Radiation exposure also has risk factors associated with gender and age, with exposure particularly harmful for women and children.
6. The creation of nuclear weapons opened a pandora’s box that we are still struggling to control. Today, nine countries collectively have more than 12,000 nuclear weapons, nearly 90% of which are held by the United States and Russia. Proliferationrisks are rising; President Biden has said that the risk of nuclear war is as high as it’s been since the Cuban Missile Crisis. The war in Ukraine brings nuclear-armed adversaries closer to conflict and the guardrails of arms control are falling apart. And the United States is currently planning to spend an estimated $1.7 trillion dollars over the next three decades to maintain and replace its entire nuclear arsenal with new weapons, fueling a global arms race.
7. Modern nuclear weapons are considerably more destructive than the test recreated in the film. A typical nuclear weapon in the U.S. nuclear arsenal is around 20 times more destructive than the Trinity test explosion recreated in the film and the weapons that killed over 200,000 people in Japan. The U.S. has weapons that are over 60 times more powerful than the Trinity explosion.
8. Manhattan Project scientists went on to organize against nuclear weapons. After the Trinity test, seventy Manhattan Project scientists signed a petition asking President Truman to give Japan another chance to surrender without using the bomb. Manhattan Project scientists including Leo Szilard, Chief Physicist on the Manhattan Project, helped form the arms control movement.
A BRIT dad battled bugs, a broken shower and sick-filled sinks during a nightmare holiday at a five-star hotel in Turkey.
Single dad Maxwell Sarpong spent more than £1,000 on a resort stay for him and his son – only to face food poisoning and accommodation that looked like a “construction site”.
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The grubby bathrooms were more than just disgusting – they were unhygienicCredit: Maxwell Sarpong
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Jumbo creepy-crawlies scrambled across hotel floorboardsCredit: Maxwell Sarpong
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Maxwell (pictured) said the trip was a bust from start to finishCredit: Maxwell Sarpong
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But guests visiting in July last year claimed features like the indoor pool were missingCredit: Alan Xafira Deluxe Resort
Maxwell, 35, from Enfield, said the all-inclusive package at the Alan Xafira Deluxe Resort & Spa turned out to be an “absolute disaster” – with a shoddy swimming pool, building work, and flies on the food.
And guests even discovered a bowl of sick lying on the floor – along with sinks full of brown water, broken bathrooms, and massive cockroaches scurrying through the rooms.
Security provider Maxwell booked the holiday last year for him and then-12-year-old Kieran with Travel Center UK.
Speaking to The Sun, Maxwell accused the travel agency of misleading him about the exact location of the hotel – and of telling him it was a “very good” resort.
He paid £1,584 for the chance to visit the Turkish tourist hotspot of Antalya – only to face a two-hour long drive from the airport with his tired son to the hotel’s real location in Alanya.
A baffled Maxwell then discovered the resort looked “completely different” to how it had looked online when he’d scoured reviews.
Maxwell said: “We’d checked the hotel website and read reviews. Everything looked nice and I thought to myself, ‘wow’.
“But we arrived and it looked completely different.
“The first thing we noticed was the shower head missing from our bathroom.
“Then the staff told us they were still working on building the hotel.”
Shocking photos reveal broken gutters, crumpled sun loungers, and piles of building materials and boxes littered across the hotel.
And while the hotel website guarantees four different swimming pools, Maxwell discovered many of the facilities promised were simply non-existent.
The disappointed dad said: “It was an absolute disaster.
“The hotel should have been knocked down to two stars – obviously they’d overcharged us.
“The holiday was just never the holiday they’d sold us.”
Maxwell accused the hotel of serving up grub covered in flies – landing him and Kieran with dodgy bellies.
Despite paying for the all-inclusive package, the desperate dad rang his travel agent and asked for help getting transport into town to eat elsewhere.
But when he turned up at the restaurant they’d arranged, he got scammed by racking up a £100 bill – for a basic slap-up meal for him and his kid.
Maxwell said: “It was a joke. Things just started getting worse and worse.
“Back at the hotel, there were a bunch of other Brits. One lady got everyone’s email to make a complaint but nothing happened.
“We’d been promised free wifi throughout the hotel and in our rooms – but when we arrived, we were told we’d have to pay an extra fee if we wanted it.
“The only place you could use it was at reception. So everyone had to just sit around in the lobby to access the internet.”
Ever since the nightmare getaway in July 2022, Maxwell has been emailing his travel agency to complain.
But he claims he and other hotel guests, who have demanded the hotel or their travel agents cough up compensation after the horror experience, feel they haven’t been properly listened to.
Hazel Caffrey, a 35-year-old teacher from Cheshire, met Maxwell at the Xafira while on holiday with her five-year-old daughter.
She confirmed the experience was “absolutely diabolical.”
Hazel said: “It was the first holiday we’d had since lockdown.
“We booked this five-star experience thinking we wouldn’t have to leave the hotel for anything.
“Instead, the indoor pool wasn’t open. There was mess everywhere – planks of wood and building stuff, so it was a hazard for children.”
Hazel said her daughter, who has a dairy allergy, was unable to eat any of the limited selection of hotel food.
She continued: “The food was disgraceful and there was nothing there for my daughter to eat.
“We were there for a week and went out for excursions every day just to get out the hotel.
“And the smell of the hotel was vile – it smelt like a zoo or a wet dog.”
Hazel said she’d spent approximately £1,400 on the trip – and received only £200 in compensation for the ordeal.
Maxwell claimed to have received only a travel voucher for him and Keiran, worth £100 each, “after complaining for a year”.
Travel Center UK told The Sun: “We have addressed the passenger’s concerns and provided them with a fully flexible voucher as a resolution. We have resolved the matter from our end.
“We regret to inform you that we are unable to provide specific information regarding the value of the voucher provided.”
The Sun has contacted Alan Xafira Deluxe Resort & Spa for comment.
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This shocking sight appears to be a bowl of sick – languishing randomly on the carpetCredit: Maxwell Sarpong
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Hazel befriended Maxwell at the ‘absolutely diabolical’ resortCredit: Hazel Caffrey
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Maxwell said he received only two £100 vouchers for he and his son after the tripCredit: Maxwell Sarpong
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Shoddy craftsmanship made the hotel seem entirely unprepared for visitorsCredit: Maxwell Sarpong
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While this broken banister appears actively dangerousCredit: Maxwell Sarpong
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Maxwell says he felt totally duped by the experienceCredit: Maxwell Sarpong
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Other Brits at the resort were also furious, according to the annoyed dadCredit: Maxwell Sarpong
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Fellow guest Hazel was concerned the mess was a hazard for her five-year-oldCredit: Maxwell Sarpong
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The lack of indoor pool aggrieved the guests, who’d been promised four swimming areasCredit: Maxwell Sarpong
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Mexico and Panama face off for the 2023 Gold Cup trophy today and while El Tri are the overwhelming favorites for the title, they could face some surprisingly stiff competition from a determined Panamanian team that took down the U.S. in the semifinals. Here’s what to know about the Gold Cup finals and how to watch Mexico vs. Panama online for free.
Mexico vs. Panama Gold Cup Final: Date, Time
The 2023 CONCACAF Gold Cup final features Mexico vs. Panama, with the final match taking place today, Sunday, July 16 live from Los Angeles’s SoFi Stadium. Last-minute tickets to the Gold Cup final are still available online, with prices starting at $100 as of this writing. Get tickets to the Mexico vs. Panama game on VividSeats.com.
The Mexico vs. Panama soccer match kicks off at 7:30pm ET / 4:30pm PT.
How to Watch Mexico vs. Panama on TV
FOX is the official broadcaster of the 2023 Gold Cup, so you can watch the Mexico vs. Panama game on TV through your local FOX affiliate.
Gold Cup Livestream: Watch Mexico vs. Panama Online Free
If you want to watch the Gold Cup finals without cable, there are a few ways to livestream the Mexico vs. Panama game online for free.
Your best bet is DIRECTV, which offers 75+ live TV channels that you can stream online. DIRECTV’s base plan includes FOX, and you get a 5-day free trial to the service, so you can use it to watch Mexico vs. Panama free.
Want to watch the Mexican feed of the Gold Cup final? Use a virtual private network like ExpressVPN to change your IP address to Mexico. You’ll then be able to stream the Spanish-language feed of the Mexico vs. Panama game on Univision and TUDN.
Mexico vs. Panama: Gold Cup Finals Odds, Matchup
Many expected the 2023 Gold Cup tournament to feature Mexico vs. USA in the finals, but the USMNT suffered a shock defeat to Panama in the semifinal after a penalty shootout. Mexico, meantime, took down Jamaica to clear their path to the final game.
Only three teams have won the Gold Cup since the CONCACAF tournament debuted in 1991: Canada, the U.S. and Mexico. With only Mexico remaining in this year’s tourney, El Tri are the odds-on favorite to win the 2023 Gold Cup.
History is on Mexico’s side too: the country holds the record for the most Gold Cup titles, having won it eight times. The USMNT have won the Gold Cup seven times, while Canada took home the trophy in 2000.
It’s official: Linux distros now run on 3% of global desktops – a figure that even rises to 7%, if we’re counting devices running Chrome OS.
The news comes courtesy of new Statcounterdata, deriving its findings from tracking code embedded in browsers. Curiously, “desktops” also includes laptops, as it’s difficult to separate them given the nature of the telemetry.
The past year has seen Windows drop from 76.33% of overall market share to 68.23%, while MacOS has seen a sharp rise from 14.64% to 21.32 percent, leaving Linux, ChromeOS, and the nebulous “unknown” category to make up the remaining 10.5%.
While we can’t say we’re going through a period of Linuxmania, or even that this growth will be exponential (this writer categorically refuses to use AI to run that simulation), it’s absolutely the case that Linux is the most user-friendly it’s ever been at present.
That’s thanks to devices such as the Raspberry Pi and Valve’s Steam Deck, which come with their own tailor-made operating systems (OSes), Raspberry Pi OS and SteamOS, featuring graphical user interfaces designed to resemble Windows at every step, while still offering the tools for tinkering and innate open source software freedom that have been Linux’ unique selling point since it began.
Practice what you preach
When the idea of writing something on the rise of Linux was put to me, the joke was that it would “test my love of Linux”, having bought a Steam Deck, and a Raspberry Pi for different use cases and (spoilers) being pleasantly surprised all round. I would definitely agree with the idea that a lot of work has gone into making Linux palatable not only to the lay lizard businessperson, but the rest of us.
I started with a begrudging tolerance for SteamOS at first, as there’s currently no official dual-boot wizard available for the Steam Deck. Software compatibility was the first main gripe, but Valve’s compatibility layer for Windows software, Proton, is constantly improving and, in my experience, can even run certain applications better than Windows installed on the Deck.
Other application launchers designed for gaming, such as Lutris, offer up what appears to be a custom implementation of the long-standing Wine compatibility layer, alongside community installers for various pieces of software.
Again, Steam and Lutris are not explicitly designed to install business software tools, but I have had luck doing so, in addition to a number of required Windows dependencies and redistributables, to create a portable work environment for use in a pinch.
Sometimes, even all of that is an extravagance. The Steam Deck, for example, like Ubuntu (another popular Linux distribution), has a “Discover” application, replicating the Flathub software repository, which offers exclusively free software, in an “app store”-like interface for babies.
The Steam Deck, running SteamOS in Desktop mode, with the Discover app open. (Image credit: TechRadar)
And there’s a lot on it, essential or otherwise: those external Wine installers, a version of Space Cadet, the Windows 95 pinball game, for your lunch break. But not all of it is fun and games. You’ll find your office software, your word processors, FTP and torrent clients, and even an open-source fork of 3D modelling software Blender.
I briefly considered making this article a “I turned my Steam Deck into a work laptop” experiential piece, but on top of that being deeply unoriginal, TechRadar Pro functions quite possibly entirely on the use of web applications, so that would be a remarkably dull piece of writing.
You might therefore think, “I have that same use case at work, so why bother?” But then, the entry-level Steam Deck is £349, and Raspberry Pis are available for as little as £35, so they are fairly cheap options to get a workstation going.
The Steam Deck is very easily turned into a “third display” of sorts running Windows using an application called InputDirector. Though the Steam Deck remains a separate desktop, you can control, via wifi, one set of monitors on another system as well as Steam Deck using one set of peripherals.
Supposedly there are Linux-based alternatives here, but I don’t run Linux on my primary Desktop so can’t speak for them. In this scenario, the OS you’ll be wanting to use on a laptop for work purposes should probably be the same as the one you run on your primary PC.
Perhaps as a result of this, I currently have Windows running on my Steam Deck, but if I was going to do that experiential piece, I wouldn’t have too many qualms about going back – certainly not from a business PC perspective.
Never fear, though, because I have been tinkering with a Raspberry Pi for a little while – partially for personal use but also in pursuit of that rich, creamy content-generated affiliate revenue my corporate paymasters crave. And, I have to say, I’m really taken by it – its size, versus what it can do, and just how Windows-like the stock OS is.
A Raspberry Pi 4 Model B board. (Image credit: Raspberry Pi)
In exploring the capabilities of a Pi, the compact nature of a Pi makes it an ideal choice for an entry-level small business server connected to a powered USB hub. This is best if you have the space to stack drives, but absolutely the cheapest and easiest way to get a NAS (network attached storage) box up and running.
On Raspberry Pi OS, an SFTP server is as simple as enabling the Secure Shell Protocol (SSH), either in the settings, or directly from the Raspberry Pi Imager when installing the OS to an SD card. This was by far the easiest thing I’ve done across my growing litany of Pis (more on this when I receive one that actually works for longer than 12 hours, but I should note that your mileage regarding reliability will probably vary for the better, and I have just been very unlucky).
While I very much want to save the RPi talk for my inevitable experiential feature, I’ll say this: there’s a culture of fear, and difficulty, and obscurity about Linux that upstart devices like Pis and the Steam Deck are well and truly putting to bed.
The pulling together of very similar device specifications under a single brand name has, in both cases, inspired robust community and third-party brand support, resulting in a great deal of software tools and accessories designed to accommodate these devices, specifically. Having an issue on these devices’ particular flavours of Linux? Google is your friend (other search engines are available).
Handheld Windows PCs going for the same effect, like Asus’ ROG Ally and the Aya Neo (both targeted at gamers, but computers are computers) aren’t quite getting there. Valve and the Raspberry Pi foundation are companies producing hardware synonymous with quality and long-term support, and that both lower the barrier to entry by selling that hardware at a competitive price point.
Here’s what I’ve learned as a recent, if partial, convert: If there’s an app function you want, I guarantee it will be available, in some form, on Linux, and it’s not the case that you have to exclusively fumble with a command line window to get anything going. If you want Linux to be for you, it can be. I’m still in both camps at the moment, but, honestly? I’m pleased as punch with where Linux is, and optimistic about how far it can go.
Ben Platt has apparently decided he’s no longer going to speak about his mega-producer father Marc Platt — and the internet is so not here for it.
During the press tour for his new film “Theater Camp,” which Platt cowrote with Molly Gordon (who herself is born to director Bryan Gordon and writer-director Jessie Nelson), a reporter for Rolling Stone asked him about being featured on New York Magazine’s infamous nepo baby cover from December.
“You were on the cover of New York Magazine’s Nepo Baby Issue. I’m curious what was your response to that? And what do you make of that whole discourse?” journalist EJ Dickson asked.
“We’re going to skip right over that if we can,” Platt responded.
“No comment?” Dickson responds.
The feature then indicated that Platt’s publicist intervened, saying, “If we could just focus on ‘Theater Camp,’ that would be great. Thank you.”
Marc Platt, a three-time Oscar nominee for producing Best Picture contenders “Bridge of Spies,” “La La Land” and “The Trial of the Chicago 7,” produced his son’s breakout performance in the “Dear Evan Hansen” Broadway musical, which led to Ben winning a Tony Award in 2017. Marc also produced the “Dear Evan Hansen” film adaptation in 2021, which also starred Ben.
The Rolling Stone interview quote caught fire on social media, with many criticizing Ben’s refusal to address the apparent benefits of having a father as a Hollywood decision-maker.
“Your dream was guaranteed, sis,” wrote one user who saw an imbalance of opportunity between Platt and “normals” who would pitch an indie like “Theater Camp” to financiers today.
Others mused the fact that Platt is “incredibly talented,” but “watching him struggle with the idea that talent alone didn’t get him to where he is really is enjoyable.”
Others still pointed to fellow so-called nepo babies who have found a way to respond to such questions with class, like “Girls” star — and Brian Williams’ daughter — Allison Williams.
“If you also are wondering that perhaps my relationships helped me get in the door and get me to where I am, then the answer is 100% yes,” Williams said in a January interview. “I don’t feel like I’m losing anything by admitting that. It’s totally unfair in a way that’s maddening, so to be told that it’s not real and it’s not happening is just gaslighting.”
Catch more responses to Platt’s PR blunder in the tweet roundup below.
“Yes, my father was a producer of the movie I starred in. I had a major leg up when breaking into this business and I’m forever grateful. That’s why I’ve decided to fund a scholarship to help someone else.” Like??? How easy was that??? https://t.co/gsmax4aPll
it’s weird that ben platt is so sensitive about this because his dad produced some really great movies! why not just say “i am so lucky i got to be around people making stuff as cool as legally blonde growing up! it had a such a huge influence on me” https://t.co/kMy8IOzA8j
Genuinely don’t understand why everyone doesn’t just give the Alison Williams nepo baby quote verbatim when asked about this topic lmao https://t.co/wgoWfM2INn
definitely not out of touch for Ben Platt to repeatedly refer to his Theater Camp movie, which got instantly made once he and his fellow nepo baby whipped it up, as an “impossible dream”?
normals pitch to 100 studios and still don’t get optioned. your “dream” was guaranteed sis
I want every interviewer to ask Ben Platt about being a nepo baby. He’s incredibly talented but watching him struggle with the idea that talent alone didn’t get him to where he is really is enjoyable. And no one is more fun to watch spiral like a theater gay. https://t.co/nSQQdiaLWq
Jane Birkin, the singer and actress who rose to fame in the late 1960s as the lover of French bad boy Serge Gainsbourg and became a beloved figure in her adopted France, has died. She was 76.
The French culture minister announced the news on Sunday following reports in Le Parisien newspaper and BFM television that said Birkin had been found dead at her home in Paris. She had suffered a mild stroke in 2021.
Although born in London, Birkin would find fame singing in French, and her duet with Gainsbough on the sexually explicit song ‘Je t’aime…moi non plus’ (which was banned in several countries and condemned by the Vatican) made her a household name around the world.
The song was recorded in 1968, just months after the pair — Birkin then 22-year-old and Gainsbourg 40 — had first met on the set of the film Slogan, forging a turbulent relationship that would last 13 years and see them become France’s most famous couple. The two — whose notorious rows once saw her fling herself into the River Seine after throwing a custard pie in Gainsbourgh’s face — would have a daughter, the actress, singer and director Charlotte Gainsbourg (who in 2021 debuted her documentary about her mother, Jane by Charlotte, in Cannes).
“He and I became the most famous of couples in that strange way because of Je t’aime and because we stuck together for 13 years and he went on being my best friend until the day he died,” Birkin told CNN in 2006.
Birkin’s film debut was the Michelangelo Antonioni’s 1966 classic Blow-Up, a small role noted for a full-frontal scene. Other credits include the 1972 adaptation of Death on the Nile and 1982’s Evil Under the Sun. Later moving to more arthouse productions, she earned three Cesar nominations, beginning with 1985’s La Pirate.
Thanks to her style, Birkin became a major fashion icon and It girl of the 1970s. In 1984, Hermes named its Birkin bag — still a highly sought-after accessory four decades on — after her.
Alongside Charlotte, Birkin had a daughter, Kate Barry, with the James Bond composer John Barry, whom she married at the age of 17 (a marriage that lasted just three years). Kate Barry tragically died in 2013 of apparent suicide. Birkin also had another daughter, the singer Lou Doillon, from a relationship with French director Jacques Dillon.
The three movies Greta Gerwig has made since she added writer/director to her stellar resumé six years ago are “Lady Bird,” “Little Women” and now “Barbie.”
Each one addresses a different vision of womanhood — from rebellious youth to struggling sisters to a questing commercial icon — but they share a universal theme of female agency.
As both actor and filmmaker, the California-born Gerwig is drawn to stories of women who are the strong centre of the storms that surround them.
“I hope I never make a movie that doesn’t pass the Bechdel test,” Gerwig once told me in an interview. (U.S. cartoonist Alison Bechdel created the test: to pass, a film must feature at least two women talking to each other about something other than a man.)
After more than a decade as a popular actor, usually appearing in films directed by men, Gerwig hit the stratosphere with “Lady Bird,” her first flight as a solo writer/director and my pick as the best film of 2017. She received two Oscar nominations: Best Director and Best Original Screenplay. (Her first two features, “Lady Bird” and “Little Women,” received a total 11 Oscar noms, including Best Picture for both.)
The comic star of “Frances Ha” and “Mistress America,” who turns 40 on Aug. 4, found the perfect avatar in Saoirse Ronan for “Lady Bird’s” title rebel, a story inspired by Gerwig’s own Catholic-schoolgirl upbringing in Sacramento. Always chafing at rules, Ronan’s Lady Bird cheekily chooses Stephen Sondheim’s “Everybody Says Don’t” as her audition song for a high school musical.
“Little Women” followed in 2019. Gerwig put her mark on Louisa May Alcott’s classic story of four sisters — Jo, Meg, Beth and Amy March — growing up in New England and forging their identities during the American Civil War. The movie brought Gerwig her third Oscar nomination, for Best Adapted Screenplay.
In the film, Gerwig drastically changes Alcott’s timelines and places the emphasis on the March sisters as adults. The intent is to show them not as girls but as women, after they’ve discovered more about themselves. Saoirse Ronan plays aspiring writer Jo, who is adamant that she’s not going to spend her life finding a man: “I intend to make my own way in the world.”
Jo’s sentiments are echoed in the journey of Margot Robbie’s title character in “Barbie,” which opens July 21. The familiar doll of childhood dress-up games magically transforms into a human, leaving her plastic fantasy behind to discover the challenges of the real world. She’s accompanied on her journey by uninvited boyfriend Ken (Ryan Gosling), but it’s Barbie who drives the pink getaway car.
Gerwig co-wrote the screenplay with fellow filmmaker Noah Baumbach, her life partner and frequent collaborator. She calls the movie and its diverse cast “humanist” in its approach to self-actualization.
There are record-scratch moments of clarity in “Barbie.” In one, all the beautiful people are swaying together in a brightly coloured disco to Dua Lipa’s “Dance the Night,” while congratulating each other on living such fabulous lives. Then Margot’s Barbie, who’s becoming aware of real life outside plastic Barbie Land, stops the music and abruptly asks, “You guys ever think about dying?”
She’s questioning the superficiality of her existence, something that Gerwig’s title character in “Frances Ha” grapples with when she shouts, “Don’t treat me like a three-hour brunch friend!” at an acquaintance.
“This line came out, I think, because it’s really about the people who you can give really cursory or ‘un-in-depth’ answers to and they’ll just accept it and just keep going …” Gerwig said of that 2013 film.
“We just accept it, and that to me is someone you see for brunch and you talk about your life, but you don’t have to offer anything to them. Like a Facebook friend that you occasionally have a meal with.”
Gerwig’s protagonists, the ones she plays and the ones she writes, all seem to find themselves in a whirlwind of social stress and change. But then, Gerwig has always thrived on chaos.
You can see it in her grand arrival scene in the 2015 screwball comedy “Mistress America.” Gerwig’s character, Brooke, strides down a set of red stairs in New York’s Times Square to greet a newcomer to the city. Arms outstretched, her smile a mile wide, she glides through a jostling mob of people.
Nothing seems to faze Gerwig. When she was flying to Toronto in the autumn of 2017 to promote “Lady Bird,” she was stranded by bad weather at the Washington, D.C., airport.
There was no way she was going to get to Toronto to do that evening’s Q&A at a public preview screening. She bought herself a pizza, found a quiet corner of the airport and took out her smartphone. She then made a video of herself conducting her own amusing Q&A, which she emailed to her Toronto representatives to play at the screening.
It’s been quite the Hollywood ascension for Gerwig, who originally wanted to be a playwright, not a moviemaker. But she couldn’t get into any of the graduate programs for playwriting she applied to.
“But it wasn’t something that I imagined I could have a career in, because it just seemed so unlikely that I would be able to do it. I was writing all the time and making things all the time, and acting in other people’s things and film felt like it was kind of the Wild West … it all seemed like someone was going to call me and say, ‘OK, now you have to find a real job.’
“But as I learned more and more, and grew into it more and more, I just became certain that what I wanted to do was write and direct.”
Star contributor Peter Howell is a movie critic in Toronto. Follow on Twitter: @peterhowellfilm
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Hollywood top executives figured they could ride out a skirmish with screenwriters reeling from technology’s changes to the industry.
But few executives were prepared for — or wanted — a strike by the industry’s largest union, SAG-AFTRA, which represents 160,000 actors and other performers.
After talks over a new contract collapsed last week, throngs of performers joined writers on picket lines — plunging Los Angeles’ signature industry into chaos and further complicating what some fear could become a long and devastating strike.
Movie shoots have ground to a halt. A-list stars have bailed on film and TV marketing campaigns. Matt Damon, Cillian Murphy and other actors walked out during Thursday night’s London premiere of Universal Pictures’ highly anticipated “Oppenheimer.”
The upcoming fall TV season could sputter, devoid of new scripted episodes of “Abbott Elementary,” “Law & Order: SVU” and “NCIS.” And media companies that were already struggling to compete in the streaming era could see their fortunes further sink.
“There’s going to be a lot of blood in the water,” Jonathan Taplin, director emeritus of USC’s Annenberg Innovation Lab, said. “This is not going to end well.”
Simultaneous strikes by the Writers Guild of America and the Screen Actors Guild-American Federation of Television and Radio Artists — the first joint work stoppage since Ronald Reagan led SAG in 1960 — couldn’t come at a worse time for traditional entertainment companies.
“The economics of the industry are very challenging — the worst that we’ve ever seen,” veteran media analyst Michael Nathanson said. “A prolonged strike will only make things worse.”
Amid a nationwide rise in labor activity, Hollywood’s discord has taken on the trappings of a larger cultural clash, ostensibly pitting everyday workers against top wage earners, America’s 1%.
On picket lines and social media sites, richly compensated industry leaders, including Disney Chief Executive Bob Iger and Warner Bros. Discovery Chief David Zaslav, are being portrayed as cartoon villains.
Outside Disney’s Burbank headquarters on Friday, a striking worker hoisted a sign that depicted Iger’s face superimposed on a hand-drawn Marie Antoinette figure, holding a raspberry-colored confection under the words: “How about sharing some of that cake, Bob?”
“We’re looking at class warfare,” Nathanson said. “It’s become more than just about their work agreements, but also about statements they want to make about society and fairness. Working-class people are looking to take their anger out on the studio executives.”
SAG-AFTRA President Fran Drescher, center, and SAG-AFTRA National Executive Director Duncan Crabtree-Ireland, left, outside Netflix on Friday.
(Myung J. Chun / Los Angeles Times)
SAG-AFTRA President Fran Drescher, best known for starring in the 1990s sitcom “The Nanny,” has been celebrated among striking workers after her rousing speech Thursday to announce her board’s unanimous vote to call a strike against the Alliance of Motion Picture and Television Producers, the organization that negotiates on behalf of the media companies.
Actors are seeking higher minimum pay, increased residuals and revenue sharing with the streamers. They’ve demanded protections against the use of artificial intelligence to simulate background actors, known as “extras.” Writers have made similar demands, saying since the rise of streaming, midlevel writers have struggled to make a living wage.
“The entire business model has been changed because of streaming, digital and AI,” Drescher said. “At some point, you have to say ‘no, we’re not going to take this anymore.’”
The AMPTP defended the offer the group had made to actors, including what it said was the highest percentage increase in pay minimums in 35 years and a “groundbreaking” proposal for AI protections.
“A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life,” the AMPTP said. “The union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.”
It’s not clear when bargaining sessions with the actors might resume. No talks are currently scheduled.
AMPTP negotiators haven’t met with the WGA in more than two months.
Taplin, a former film producer who wrote a book about artificial intelligence, “The End of Reality: How Four Billionaires Are Selling Out Our Future,” said the threat posed by technology “for all artistic production is gigantic.”
“People worry, in the abstract, about AI replacing workers but here it is, it’s actually happening,” Taplin said. “They don’t want to have to pay for extras anymore, so they could have a scene that has 5,000 AI extras in the background.”
Technology also has upset Hollywood’s hierarchy. AMPTP’s shifting makeup now includes tech giants Amazon, Apple and Netflix — companies that don’t have a tradition of collective bargaining.
Veteran executives said the group, even in good economic times, formed an uneasy alliance. Member companies, including Disney, Comcast’s NBCUniversal and Netflix, are more accustomed to battling one another for viewers and revenue.
And some in Hollywood have wondered whether the AMPTP’s shifting makeup will stand in the way of a deal.
When reached for comment, AMPTP spokesperson Scott Rowe said: “The companies remain completely united.”
But unlike past strikes, including the 100-day standoff between writers and studios in 2007-2008, no leading executive has emerged to help broker labor peace.
“There isn’t a leader or leaders who have volunteered to handle this and to be the focal point of the discussion,” said one person close to the negotiations who was not authorized to comment. “That’s partially because they’re all new to it, and also because 2023 is nothing like any other time when the technology has essentially changed business plans.”
Director Steven Spielberg, left, Disney CEO Bob Iger and director James Cameron in January.
(Jay L. Clendenin / Los Angeles Times)
Wall Street already has placed its bets, punishing the stocks of legacy media companies.
Since the writers’ strike began in May, Disney’s stock has fallen 13% to $88.62 a share. Paramount has dropped more than 30% to $15.96 a share, and Warner Bros. Discovery has declined nearly 7% to $12.40.
Shares of WBD, which owns HBO and CNN, closed at $12.40 on Friday, down nearly 50% since April 2022 when the smaller Discovery absorbed WarnerMedia — a deal that saddled the company with more than $45 billion in debt.
In contrast, Netflix shares have soared 36% to $441.91 since the writers’ strike began.
Netflix now boasts a higher market value — nearly $200 billion — than Disney, the world’s largest entertainment company, which is valued at $162 billion.
“Investors are saying Netflix can weather the storm,” Nathanson said. “They make a lot of shows, and stack them up because of the binge-viewing model. They also have a lot more international production that they can import.”
Disney’s boss, Iger, appeared on business channel CNBC last week from the annual media mogul conference in picturesque Sun Valley, Idaho. The executive, who returned to the company in November, acknowledged that he underestimated the challenges confronting his company — particularly in the traditional television business.
“The disruptive forces that have been preying on that business for a while are greater than I thought,” Iger said. “We have to come to grips with that.”
Disney already has slashed nearly 7,000 jobs this year in an effort to save $5.5 billion. And in a nod to the changing winds, Iger suggested Disney might consider shedding linear channels, perhaps even the ABC television network.
The company, he said, also is open to taking on a strategic partner for ESPN.
Disney’s sports empire remains lucrative, but it is plagued by the trend of consumers ditching cable and satellite subscriptions in favor of streaming apps. At some point, the company plans to offer ESPN directly to consumers — but Iger didn’t say when.
“We’re seeing accelerated cord cutting as people are dropping the cable bundle,” Nathanson said. “And advertisers are no longer supporting the networks as they have in the past.”
Broadcast networks — ABC, CBS, NBC and Fox — are expected to be hit hard by the twin strikes because they are most reliant on fresh programming. Late-night comedians, including ABC’s Jimmy Kimmel and CBS’ Stephen Colbert, have been off the air since early May, when the writers’ strike began.
If the two walkouts are not resolved before October, there probably won’t be any new scripted shows produced until next year, according to company insiders.
And that could be devastating at a time when traditional networks are struggling to hold on to viewers.
“The networks have sports and news but a lot of their constituents are there to watch the prime-time shows,” said Neil Begley, a senior vice president for Moody’s Investors Service. “Among those viewers, there’s an expectation that fall is the start of the new season. The networks are going to have to reach far and wide for content to fill those hours.”
Compounding matters, this year’s annual TV advertising market, when TV networks sell their commercial time for the new season, has been sluggish.
“Advertisers don’t know what type of programming they’re going to get with these strikes,” Begley said. “They’re saying: Why commit?”
Privately, company executives say their businesses won’t feel much financial pain for several months. Without widespread production, costs will be lower, which translates into higher profits — at least in the short term.
Studios also are expected to begin canceling TV writers’ overall deals to find more savings.
But eventually, networks and streamers will run low on original episodes and media executives will be motivated to reach a detente.
“You can’t get by without actors,” Begley said. “The actors’ strike gave more leverage to the writers.”
Analysts and veteran executives said the market is straining to support all of the streaming services — and shows to stock them — launched in the last five or so years. Hollywood, they say, could look dramatically different after the strikes get resolved.
“Consolidation is going to happen,” predicted Nathanson. “Perhaps the strike will accelerate those moves as the weakness sets in. Some of these players are going to get weaker.”
Times staff writers Richard Verrier, Yvonne Villarreal, Ryan Faughnder, Stephen Battaglio and Anousha Sakoui contributed to this report.
Joe gets into more trouble than he expected. Has the Joe Pickett TV show been cancelled or renewed for a third season on Paramount+? The television vulture is watching all the latest cancellation and renewal news, so this page is the place to track the status of Joe Pickett, season three. Bookmark it, or 
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