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The Associated Press reached a deal Thursday with ChatGPT’s parent company, OpenAI, to share access to technology developments and content, marking one of the first news-sharing partnerships between an artificial intelligence firm and a major U.S. news outlet.

While the logistical details of the partnership are still being worked out, the deal intends to explore generative AI in news products for the AP. In return, OpenAI will license part of the AP’s text archive in order to further train its artificial intelligence products.

OpenAI’s chief operating officer Brad Lightcap is hopeful that access to AP’s extensive archive “will help to improve the capabilities and usefulness of OpenAI’s systems.”

The AP has not yet implemented generative AI in its news stories, but this deal aims to change that by developing industry standards for AI use in journalism.

The news organization “firmly supports a framework that will ensure intellectual property is protected and content creators are fairly compensated for their work,” Kristin Heitmann, AP senior vice president and chief revenue officer told Axios.

“News organizations must have a seat at the table to ensure this happens, so that newsrooms large and small can leverage this technology to benefit journalism,” Heitmann continued.

Although the AP has yet to venture into generative AI exploration within news stories, the outlet was one of the first to implement automation within its content. The AP has used such technology to cover local sports and recently launched a search function that is powered by AI technology.

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The Associated Press reached a deal Thursday

TRIBUE TO TOM SIZEMORE! Tom Sizemore takes us to the seedy underbelly of boutique rehabilitation centers in Derek S. Orr’s comedy series Barbee Rehab. In the first episode, Sizemore attempts to recount his harrowing experience at Barbee Rehab to his new therapist, Dr. Janice (Janice Dickenson). Sponsored by Ma-Tel, the center is run by Barbee’s close friend, Dr. Midge (Vanessa Bednar), who uses unorthodox methods to treat her clients’ unorthodox ailments.

First, the patients are divided into three groups. The humans/collectors are patients who have a severe Barbee collection problem. As they arrive at the center, new patients are stripped of all their dolls and given one doll in return as therapy. The second group is the Barbees and Kens—patients who have taken on the personas of their favorite dolls, including Fairy Barbee (Rachel Riley), Glamour Barbee (Kristy Dennis), and Star Trek Ken (Johnny Wactor) and Barbee. The final group is the wild cards, who suffer from their miscellaneous non-occupational personals like Cat Lady or Alien (Bai Ling).

The series plays out as a series of comedy bits and sketches exploring the line between reality and fantasy. Each patient essentially withdraws from their reality into the world of Barbee and her infinite number of occupations and personalities.

“…Sizemore attempts to recount his harrowing experience at Barbee Rehab…”

The pace of Barbee Rehab is fast and furious. The skits and gags are cut together like a music video and offer an overwhelming plethora of characters—I count 18 characters, most of whom appear in that first episode. The gags are straightforward, how would each of these characters fare in a rehab center, and how would these interact with one another. The pace of the show is exhausting at times. The only moment to breathe comes during the Dr. Janice sessions as Sizemore explains his hard-to-believe encounter and, in that Janice Dickinson manner, she doesn’t believe him.

What the show needs to do is slow down. Get rid of half the characters, and find two or three stories to follow. Find the comedy in a few aspects of the rehab experience and insert your Barbee characters there. Maybe use silly humor to explore how Barbee Rehab was created.

I have only seen the pilot episode of Barbee Rehab, and maybe my concerns are addressed, but the point of a pilot is to grab an audience’s attention, walk us down the path of your story, and end in a way that forces us narratively to watch the next episode. Instead, the pilot episode is a narrative mess that couldn’t rely on the steady stream of silly jokes to carry us through to the end. Barbee Rehab is an interesting idea but plagued by bad execution.

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TRIBUE TO TOM SIZEMORE! Tom Sizemore takes

It’s a wrap on Season 2 of Bachelor in Paradise Canada and we have not one, but two happy couples leaving the lake and looking forward to a future together.

Alberta’s own Joey Kirchner met the love of his life, Tessa Tookes, and the two mutually proposed to each other — although Tookes will remind you that she “did it first,” presenting Kirchner with a friendship bracelet-style engagement ring before he got down on one knee and popped the question with an enormous rock.

And while one of the first couples to get together on the beach, Americans Austin Tinsley and Chelsea Vaughn, did not exchange rings, they left the beach happily in a relationship and Tinsley moved across the country to cohabitate with his new love.


The happy couples on the beach at “Bachelor in Paradise Canada.”


Courtesy / CityTV

Both couples are looking forward to the future, they tell Global News. Tookes and Kirchner, now living in Toronto, are planning both a trip to the East Coast provinces this summer and an engagement party this fall. South of the border, Tinsley is getting ready to meet Vaughn’s family (finally!) and the two are apartment hunting in NYC.

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Bachelor in Paradise Canada doesn’t exactly follow the American formula of looking for love — it tends to be more laid-back and far less sweaty in Ontario — but wherever the Bachelor franchise goes, drama tends to follow, and Canada was no exception.

Global News sat down with both happy couples to chat about going public with their relationships, the messiest and most entertaining castmates, the biggest surprises on the beach and how each of them knew they’d found “their person.”

(You can watch the video interview in full, top.)

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

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Best Amazon Prime Day Competitor Beauty Deals 2023: 10 Exclusive Sales from Murad, NuFace and More | Entertainment Tonight
































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Despite an increase in cloud adoption, physical storage drives are once again responsible for hosting malware, new resarch has claimed.

Cybersecurity experts at Mandiant recorded a spike in USB-based incidents during the first half of 2023, with a threefold increase in the number of attacks using USB drives to steal secrets.

Previously, Mandiant had recorded somewhat isolated attacks concentrated on the Philippines, but attacks now look to be spreading globally.

USB malware attacks on the rise

For many, USB drives have had their day. In years gone by, as their popularity soared, cybercriminals capitalized on security weaknesses to spread malware through external drives. Today, attackers have had to become more sophisticated, but it looks like some are reverting to the good old USB drive.

The SNOWYDRIVE malware is one such modern-day example, which gives attackers the ability to remotely issue system commands via a backdoor on the host system. Attributable to UNC4698, the campaign looks to be targeting the oil and gas industries in Asia.

The second, which Mandiant describes as “the most prevalent USB-based cyber espionage attack using USB flash drives,” looks to be targeting both the public and private sectors. Deploying SOGU malware, the attacker seeks to steal sensitive information across the construction, engineering, business services, government, health, transportation, and retail industries in Europe, Asia, and the United States. Analysts have attributed this attack to TEMP.Hex, a China-linked cyber espionage actor.

With attentions turning away from USB-based attacks in favor of protecting victims from more sophisticated attacks, turning back to spreading malware via USB drives could prove fruitful for attackers who are currently great success bypassing many security measures.

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Despite an increase in cloud adoption, physical

Disney CEO Bob Iger has disputed the recent claims that park attendance to Walt Disney World has been impacted by politics. This is goes against Florida governor Ron DeSantis’ claims on Monday that park attendance was down due to a quiet boycott.

“It’s a very, very popular business and product. It’s very successful. We’re not wringing our hands over it,” Iger said during an interview on  CNBC’s Squawk Box on Thursday.

Iger also disputed the claims made by the Wall Street Journal’s recent article —“Disney World Hasn’t Felt This Empty in Years” — as “inaccurate.”

More to come…

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Disney CEO Bob Iger has disputed the

As Ron DeSantis has made attacks on The Walt Disney Co. a feature of his presidential campaign, CEO Bob Iger responded to one of the Florida governor’s accusations made on the campaign trail: That the company was in favor of the “sexualization of our children.”

“We are a pre-eminent entertainer in the world, and we are proud of our track record there. The notion that Disney is in any way sexualizing our children quite frankly is preposterous and inaccurate,” Iger told CNBC’s David Faber in an interview from Sun Valley, ID.

DeSantis has focused his attacks on Disney’s opposition to a parental rights bill — dubbed “don’t say gay” by detractors — that has led to a stand off and a federal court lawsuit. He’s also accused Disney of being a “woke corporation” and, per The New York Times, said that the company has “really embraced the idea of getting the sexualized content in the programming for the young kids.”

While Iger told Faber that “the last thing that I want for the company is for the company to be drawn in to any culture wars,” DeSantis is likely to continue his attacks, which burnish his image as he runs to the right of Republican front runner Donald Trump. A DeSantis SuperPAC also has picked up on the attacks in TV ads.

In the CNBC interview, Faber pressed Iger on an incident that happened in June, when there was a Neo-Nazi demonstration outside of Walt Disney World.

“It was horrifying, quite frankly, and it’s concerning to me that anyone would encourage a level of intolerance or even hate that frankly could even become dangerous action. It could be turned into some dangerous act of some sort,” Iger said. “So it is concerning to me.”

Disney sued DeSantis in April, claiming that the governor’s move to strip the company of control over a special district that covers its Florida theme parks was an act of retaliation for its opposition to the “don’t say gay” bill. Also named as defendants in the lawsuit are the board members that DeSantis selected to oversee the special district, replacing those aligned with the company.

“We are concerned that he has decided to retaliate against the company for a position the company took on pending legislation in that state,” Iger said. “And frankly, the company was within its right, even though I’m not sure it was handled very well, it was within its right to speak out on an issue, a constitutionally protected right to free speech, and to retaliate against the company in a way that could be harmful to the business was not something we could sit back and tolerate.”

The five-member board of the special district filed its own counter-suit against Disney in state court.

Iger has attacked DeSantis’s moves as being “anti-business and anti-Florida,” and in May the company announced that it was canceling plans to move part of its workforce from California to the Sunshine State. As the have in years past, the company’s theme parks embraced Pride Month, despite escalating attacks from the right on the LGBTQ+ celebrations. Under then CEO Bob Chapek, Disney last year initially declined to more directly weigh in on the debate over the Florida “don’t say gay” bill, but reversed itself after employees revolted. Chapek then spoke out against the bill for targeting the LGBTQ+ community, while the company vowed to support organizations seeking to repeal the new law or challenge it in court. DeSantis then set his sights on the Reedy Creek Improvement District, the Disney-controlled government entity set up in the late 1960s as its Florida property was being developed.

Iger returned to the company in November, after Chapek was ousted. On Wednesday, the company announced that Iger’s contract would be extended through 2026.

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As Ron DeSantis has made attacks on

The shooting of this film will start in August.

Abraham Mathew has produced this film, which is the 13th venture, under Abaam Movies.

Malayalam filmmaker Boban Samuel has kickstarted the shooting of his latest movie, tentatively titled Abraham Movies Production No.13. The film’s production commenced with a pooja and switch-on ceremony held at Kumbidi, near Annamanada Abaam Tharavadu in Kochi, Kerala. The remaining portions of the shoot will also take place in Kochi. The movie features popular actors Soubin Shahir and Namitha Pramod in the lead roles.

Dileesh Pothan, Shanthi Krishna, Manoj KU, and Vineeth Thattil are among the other talented actors who will be part of the star cast. Additional renowned actors are expected to join the movie soon. The film is the 13th venture produced by Abraham Mathew under Abaam Movies. Soubin and Namitha have not shared any details about the film on their social media platforms.

The shooting for the film is scheduled to begin in the first week of August. The planned shooting locations include Mala (often known as Mala Thrissur), Annamanada, Kumbidi, and Mulanthuruthy. Noted music composer Ouseppachan has been roped in for the music, while Vivek Menon will handle the cinematography. Ajeesh P Thomas has penned the screenplay, and Jexson Antony has crafted the storyline. Although the film’s storyline has not been revealed yet, it is expected to be a feel-good entertainer.

Director Boban Samuel is making a comeback to direction after a gap of three years with this film. He has also worked as a writer on the project alongside Rajath and Jayan Naduvathazhath. Boban’s previous directorial venture, “Al Mallu,” failed to make a mark at the box office. The film revolved around Nayana (Namitha Pramod), who seeks revenge after being betrayed by her potential fiancé, who also harms a dear friend. Despite having a promising premise, “Al Mallu” received mixed reviews from the audience. While the story was appreciated, some found the screenplay to be tedious and uninspiring. Currently, “Al Mallu” is available for streaming on the OTT platform Amazon Prime.

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The shooting of this film will start

Exactly how many episodes is Marvel Studios’ planning for the MCU’s most recent Disney+ streaming show, Secret Invasion?

Taking inspiration from one of the most influential stories in Marvel Comics, Secret Invasion became Marvel Studios’ eighth live-action series to debut on the streaming service, along with the first to come in Phase 5.

Although the series has suffered low viewership numbers through its first few weeks, it looks to add a new and exciting chapter to the MCU’s legacy as different streaming shows add to Marvel Studios’ Multiverse Saga.

How Many Episodes Does Secret Invasion Have?

Marvel

Marvel Studios’ Secret Invasion is set to run for six episodes on Disney+, with four episodes aired on the streaming service thus far.

The final two episodes will premiere on Disney+ on Wednesday, July 19, and Wednesday, July 26.

Of the 16 Disney+ shows (17 seasons) that have a confirmed episode count, only half of them have six episodes.

Four of them have nine episodes, one being the animated What If…? and two others in WandaVision and Agatha: Coven of Chaos being closely tied to one another.

The only one confirmed to be longer than nine episodes right now is Daredevil: Born Again, which was confirmed for an 18-episode first season at San Diego Comic-Con 2022.

While Secret Invasion and its other counterparts are usually set for six episodes, there are a couple of animated shows that are shorter, with I Am Groot consisting of five entries and Marvel Zombies set for a record-breaking four episodes.

The full list of episode counts for all of the MCU’s Disney+ series can be seen below:

  • WandaVision – 9 episodes
  • The Falcon and the Winter Soldier – 6 episodes
  • Loki – 6 episodes
  • What If…? – 9 episodes
  • Hawkeye – 6 episodes
  • Moon Knight – 6 episodes
  • Ms. Marvel – 6 episodes
  • I Am Groot – 5 episodes
  • She-Hulk: Attorney at Law – 9 episodes
  • Secret Invasion – 6 episodes
  • Loki Season 2 – 6 episodes
  • What If…? Season 2 – 9 episodes
  • Ironheart – 6 episodes
  • Agatha: Coven of Chaos – 9 episodes
  • Daredevil: Born Again – 18 episodes
  • Marvel Zombies – 4 episodes

The first four episodes of Secret Invasion are now streaming on Disney+.

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James Gunn just added another Justice League hero in Superman: Legacy, joining Green Lantern, Hawkgirl, Mr. Terrific, and the Man of Steel himself.

DC Studios is officially beginning to fill out its DCU roster. David Corenswet is the new universes’s Superman, replacing Henry Cavill and Rachel Brosnahan will star as Lois Lane in Legacy.

As previously reported, DC Studios co-CEO Gunn is reinforcing that Superman will be joining a world where superheroes already exist, and some of the director’s recent castings have continued to prove that. 

HBO

As reported by The Hollywood Reporter, Anthony Carrigan (Barry) has been cast as Metamorpho in Superman: Legacy. 

The hero’s primary power is that he can change his body to any element. Metamorpho has popped up in both the Justice League and Justice League Europe since he began appearing in DC comics in 1965.

Ironically, he first appeared in issue #57 of The Brave and The Bold, a comic of the same name as Andy Muschietti’s upcoming Batman film following Bruce and Damian Wayne.

meta1
DC Comics

Director and writer James Gunn confirmed on Twitter, saying he’s “unbelievably excited” about the news:

“I am unbelievably excited for Metamorpho (and this opportunity to work with Anthony Carrigan.)”

Gunn also took to Instagram to celebrate the news, stating that Metamorpho is one of his “all-time favorite characters:”

“Metamorpho is one of my all-time favorite characters and I’m unbelievably excited by how we’re bringing him to the screen in Superman: Legacy – and equally excited about working with Anthony Carrigan”

The actor replied to Gunn, commenting “Honored. Psyched. Ready. Let’s go.”

After being DC’s latest casting, Carrigan posted on Instagram a simple “Let’s GOOOOOOOOO” caption followed by a look into his excitement, adding, “(seriously what a day☺️)”.

Carrigan just received an Emmy nomination for his work as NoHo Hank in HBO’s Barry.

A Justice League Member Joins the DCU

Beyond the Justice League, Metamorpho is well known for being a founding member of the Outsiders, a team full of heroes that don’t fit the typical norms of the heroic community.

Could Nathan Fillion’s Guy Gardner, Isabella Merced’s Hawkgirl, and Edi Gathegi’s Mr. Terrific be a version of this team in Superman: Legacy?

If these characters are teaming up in some way, it could also be the Justice Society of America, the Terrifics, or an iteration of the Justice League.

Superman: Legacy soars into theaters on July 11, 2025.

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It is 2023 and, sorry, Siri somehow still didn’t catch that. Despite the tsunami of advancements generative AI systems have enjoyed in recent months, the synthetic assistants on our mobile devices remain nearly as hard of hearing as they were in 2011. A newly developed dataset from Meta AI, however, promises to improve the performance of such automatic speech recognition (ASR) tools by clustering speech at the “utterance level.”

Meta has long sought to improve its ASRs’ performance, teaching them to train without the aid of transcripts, recognize more than 4,000 spoken languages and even read lips at a higher proficiency than human experts. However, many of the datasets used to train ASR models are organized by demographic — age group, gender, nationality, English accent — which limit the variation of pronunciations that models are trained on, ultimately hindering their function in understanding a broad cross section of users.

To get around this, Meta AI has developed a dataset that instead relies on an utterance clustering method. “Instead of dividing a dataset based on speakers’ demographic information … our proposed algorithm clusters speech at the utterance level,” the Meta AI team explained in Wednesday’s blog post. “A single cluster will contain similar utterances from a diverse group of speakers. We can then train our model using the various clusters and use fairness datasets to measure how the model impacts outcomes across different demographic groups.”

Meta’s resulting dataset includes just over 27,000 command utterances collected from 595 paid US volunteers. Their utterances revolve around seven main themes — music, capture, utilities, notification control, messaging, calling and dictation — that other researchers can then use to train their own models and digital assistants on. Prompts included asking the speakers how they’d voice search for a song or make plans with friends and deciding where to meet up.

To evaluate this new system, Meta first trained a model on publicly-available, English-language Facebook videos. Researchers then evaluated that model using two other datasets: Casual Conversations v1, which Meta released in 2021, and a “de-identified dataset collected from a data supplier for ASR,” which includes 48,000 spoken utterances from 867 individuals.

The initial results proved promising, with model performance improvements “on all demographic groups in our evaluation datasets, though by far the largest gains are with respect to more inclusivity of accents,” per the blog. Overall, ASR performance increased by 10 percent using the clustering method, with large gains coming from the age 66-85 crowd as well, a traditionally underrepresented demographic in the voice command space.

“Our proposed algorithm is part of Meta’s long-term focus on responsible AI and just one part of our holistic approach to address fairness issues,” the researchers wrote. Looking ahead, the team is exploring adapting the system to other languages.

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It is 2023 and, sorry, Siri somehow

Sony’s artificial intelligence tools have now trickled down into the more consumer-oriented camera line. 

The a6000 camera line from Sony has been a nice budget addition to its more expensive full-frame offerings. Sony shooters that I know often have an a6000 series on hand to capture moments where the bigger sensors might be overkill. 

Now after four years, an update to the APS-C series has been released. 

The Sony a6700 pumps out impressive video and photo specs while elevating autofocus and subject tracking thanks to a dedicated AI processor. So, should Sony shooters be rushing to upgrade? Let’s dig a bit deeper. 

AI in Super 35

At the heart of the Sony a6700 is a 26.0MP1 APS-C Exmor R back-illuminated CMOS sensor. Paired with a BIONZ XR chip, the little camera outputs video in 4K/60p oversampled from 6K in 4:2:2 10-bit. Additionally, high frame rate recording is available in up to 4K/120p.

This feature makes it a powerhouse on its own. Add in S-Log3, and creatives get a claimed 14+ stops of latitude, offering increased dynamic range and the highly sought-after S-Cinetone.

A compact powerhouseCredit: Sony

But this update has more in store than just a resolution and dynamic range. The dedicated AI processor and real-time recognition technology found in the full-frame A7 series is now in a more affordable body. It also features fives-axis in-body optical image stabilization with up to five steps of compensation.

This is where things get interesting for solo filmmakers and fast-shooting documentarians.

The real-time tracking and human pose estimation provides smarter autofocus and facilitates real-time subject recognition. While it won’t replace the creativity of a dedicated team, it will allow lone creatives to focus more on composition and story than their focus and exposure. 

Sony Alpha a6700
Real-time tracking for face and bodyCredit: Sony

The camera is also compact and lightweight, making it a comfortable tool to handle, while the eye-level EVF and vari-angle LCD monitor enhance shooting flexibility.

Photographers will appreciate the flexibility offered by selectable RAW file types and the JPEG Light quality setting. This allows for customized output options and efficient file management. Additionally, the camera boasts faster and more precise autofocus with 759 phase-detection AF points covering 93 percent of the frame, ensuring sharp and detailed images.

Who Is This Camera For?

The Sony a6700 combines cutting-edge technology with efficient features in a compact form factor. It’s also affordable to boot. 

For creatives that need high-end Sony features and image quality, the a6700 is a great B-Cam or daily shooter. I see this being a great asset for social media content creation where a bigger camera might be a tad overkill.

But with the addition of AI-based functionalities, this tool really starts to shine for those of us without a team.

What do you think? Is the a6700 the right fit for you? Let us know in the comments!     

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Sony’s artificial intelligence tools have now

The last day of Prime Day 2023 is here, which means the best Amazon clothes sales of the year are going fast. Sure, when you think of the best Prime Day deals, you might picture marked-down tech and home goods—but the mega-retailer’s shopping event isn’t complete without a few under $100 steals on fashion picks like T-shirts, walking sandals, summer dresses, swimsuits, Amazon purses, and TikTok-viral finds. (You’ll even encounter a few of Kate Middleton’s favorite things and a famous marked-down puffer jacket, should you want to get a head start on fall shopping).

Our Top Picks:

The only catch? You need to be a Prime Member to shop most of these Amazon clothes sales. (No worries—signing up for a trial is free and supremely easy.) 

And not to be dramatic, but these are some of the best fashion deals we’ve seen. The site is stocked with wardrobe essentials—think white sneakers, athletic shorts, breezy dresses, and black leggings, all on deep discount. That’s not even getting into specific brands, either—you’ll find Prime Day deals on the likes of Levi’s, Ugg, and Nike, among many others. And don’t sleep on Amazon’s Luxury Stores section. You can find a ton of deals on designer clothing and accessories from Sergio Hudson, Altuzarra, and more. Combing through Amazon’s many, many fashion sales can get overwhelming quickly, so take a look at our favorite Amazon Prime clothing deals below. Just a quick note: The prices tend to fluctuate depending on the size, color, and specific style.

PS: While you’re at it, check out some of this year’s best Amazon Prime Day deals—including vacuum discounts that’ll blow you away, pet deals on treats and toys for you and your furry friends, and markdowns on great Amazon gift ideas for anyone on your list. 

Amazon Prime Day 2023 Fashion and Clothing Deals

With so many fashion deals from designer and TikTok-approved brands, it’s hard to know where to start, so we suggest tracking down the pieces your summer wardrobe is still missing. Need a summer top to wear to dinner? A pair of distressed Levi’s jeans (or denim shorts) to wear with every tank top or short-sleeve shirt you own? One of our absolute favorite one-piece swimsuits from cult-favorite brand Cupshe? You’ve come to the right place. Also, the viral Orolay coat that sold out so fast when it first hit the market is back and it’s on sale. 

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The last day of Prime Day 2023

Kajol, one of India’s best-loved actors, stars in Disney+ Hotstar series “The Trial – Pyaar, Kaanoon, Dhokha,” the Indian adaptation of CBS series “The Good Wife.”

The courtroom drama sees Kajol star as Noyonika Sengupta, a housewife who is forced to return to work as a lawyer after her husband’s public scandal puts him behind bars. Produced by Banijay Asia and Ajay Devgn FFilms, “The Trial” is directed by Suparn S. Varma (“Rana Naidu”).

Kajol is a huge fan of “The Good Wife.” “I loved the characters, I love the whole show, I binge watched it,” Kajol told Variety. Noyonika is the Alicia role that Julianna Margulies played in the original.

Unlike the U.S., India does not have a trial by jury system. That changes the judicial process depicted and the storytelling in the adaptation, Kajol explained.

“The culture of India is completely different. The pressure is different. If something happens in a woman’s life – whether the husband has the affair or the husband dies, the woman is shamed and the woman is blamed for it. And that is society’s perception of it,” Kajol said. “So that in itself changes Noyonika’s character from Alicia in 100 different ways, her reactions, the way she behaves, what she thinks, what she says – they’re all completely different. I would say it’s a very nicely put adaptation, but it’s not scene-for-scene identical.”

On her character, Kajol added: “She has to build herself up all the way from the bottom where work is concerned and where family life, social pressure and family pressures are concerned. Noyonika is pretty much all women. Noyonika is a woman that any woman would understand and sympathize with.”

Keeping things realistic was a priority during production. To this end, lawyer Priyanka Khimani and a team from Khimani & Associates, a law firm known for its entertainment and intellectual property practice, were present on set. “[It was] so that we didn’t take too many cinematic liberties with our words, gestures, what we were allowed to do and what we were not allowed to do,” Kajol said. In terms of body language, it was all about keeping it controlled, the actor said.

The years of pandemic meant that Indian audiences were exposed to a vast array of international content and by the same token, Indian programming was seen abroad, making the world a global village.

“It’s not so much which audience you are catering to. I think acting as a genre in India has changed, and it you have to change with it. And you have to understand that everybody’s seeing better,” Kajol said. “International cinema has now become a norm, rather than a a niche thing that only certain people can watch. Today, everybody has Disney+ Hotstar, Netflix, or Amazon or whatever on their phones, so they are able to view films in a variety of different languages – Japanese, Korean, English, Hindi, Malayalam, Telugu, everything. As an actor 1689249979, the formula that you think you have done 100 times before, somehow just doesn’t work anymore. You have to change it around. You have to make it more like what you’re seeing everywhere else, rather than sticking to the typical Hindi format.”

“The Trial – Pyaar, Kaanoon, Dhokha” streams from Friday.

As revealed by Variety, Kajol will lead yet-to-shoot Netflix mystery thriller “Do Patti.” “It’s going to be very, very interesting and I hope and pray that you all find it as interesting because it’s very different from what I’ve done so far,” Kajol said.

The actor also has a pivotal role in thriller film “Sarzameen.”

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Kajol, one of India’s best-loved actors, stars

For their latest campaign, Dropout’s D&D adventure show Dimension 20 enlisted four Drag Race superstars to roll the dice and enter a realm of sickening orcs and fierce witches. Dungeons & Drag Queens is exactly what you think it is: it’s four queens — Alaska, Bob the Drag Queen, Jujubee, and Monét X Change — getting lost in a fantasy realm created by dungeon master extraordinaire Brennan Lee Mulligan. Yes, episodes are two hours long — but they fly by with the speed of hanging out with your funniest, best friends. Mulligan and the queens have an instant chemistry that is the definition of “yes and.” You will howl with laughter over the queens’ bold decisions, which lead to “cameos” from a chipmunk named Alvin and music producer Mark Ronson. But most of all, you will start to care deeply about what happens to the four tenacious characters created by these drag legends. You’ll be hooked after watching the first episode for free on YouTube (the rest stream exclusively on Dropout).

Photo: Dropout

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By Brett White For their latest campaign, Dropout’s D&D

With a SAG-AFTRA strike now looking certain, the eyes of festival publicity teams and programmers may be on Venice and Toronto as major upcoming events likely to be severely impacted should U.S. actors be prevented from promoting their movies as per strike rules.

But on the West coast of Ireland, a slightly smaller festival happens to be taking place right as the union’s National Board meets on Thursday to officially decide whether to call a work stoppage, a decision that could immediately affect the event’s screenings.

The 35th edition of the Galway Film Fleadh opened in the coastal city on Tuesday night with the world premiere of The Miracle Club, starring Maggie Smith, Kathy Burke and Laura Linney. While that event saw a packed house at the Town Hall, another significant world premiere is happening on Thursday just hours after the critical vote, with its lead star potentially facing the prospect of being unable to attend.

The Martini Shot stars Matthew Modine as an ailing movie director as he begins to shoot what he believes to be his final film. The existential drama — from director Stephen Wallis and also starring Derek Jacobi, John Cleese, Stuart Townsend and Fiona Glascott — is due to premiere at 9.30 p.m. local time, a full four-and-a-half hours after the strike vote. The Hollywood Reporter understands that Modine is already in Galway for the premiere, but should a SAG-AFTRA strike be called, union strike rules would likely prevent him from attending the premiere to promote the film.

Interestingly, Modine also stars in Oppenheimer, getting its U.K. premiere on Thursday night in London. Bracing themselves for the impact of a potential strike, Universal has shifted the red carpet back by one hour in the hope that its stars — including Cillian Murphy, Robert Downey Jr., Matt Damon, Emily Blunt and Florence Pugh — have time to pose for photos and conduct press interviews without going against SAG-AFTRA strike rules.

Modine is also in Galway to take part in a Masterclass on Saturday, but THR hears that, as this isn’t directly linked to a film or any promotional work, this should be unaffected.

Elsewhere at the festival, the Galway Film Fair has become a significant industry event and co-production hub, with producers from around the world attending alongside decision-makers from various film funds, distributors and platforms, including the likes of Magnolia, Mubi, Neon, Film4 and Bankside Films. Kicking off on Thursday, the industry arm, and its numerous meetings and talks already scheduled, is unlikely to be impacted by the strike, but one source said it would “be the topic of the marketplace.”

In a quote sent to THR, Galway Film Fleadh CEO Miriam Allen expressed her solidarity with the unions, but also noted the vital nature of the festival.

“Whilst we are very supportive of both the actors and the writers in their efforts to strike a fair deal with the major studios and streamers, we believe it’s still important to keep bringing our audiences our films,” she said.

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With a SAG-AFTRA strike now looking certain,

Laurel Halo has historically wielded the piano with about as much calm as a small dog on the Fourth of July. Her hand barely straying from the keys, the composer and DJ has highlighted the instrument’s potential for nervous dissonance, generating skittering, anxious clusters of notes that further twist her already elegantly jagged production. “Belleville,” the lead single of Halo’s upcoming album Atlas, is both a return and departure for the artist, a reacquaintance with the piano that breaks from her usual jittery sound. Recorded in one take, the song’s atmosphere is drafty, softened around the edges by a blanket of dusty reverb and suffused with palpable nostalgia. Halo lingers lovingly on each note, and the sustained attention she dedicates to each moment leads to a surprising pay-off as the song crests into a stacked hum of strings and vocals from Coby Sey. The effect is like wandering through an empty mansion and stumbling upon a grand ball. When it subsides just as quickly, Halo’s piano is all that remains, leaving a mournful trail in its wake.

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Laurel Halo has historically wielded the piano

In her directorial debut, Raindance Film School alumni Sylvie Zaidman utilises 3D LED technology in her film, tRUTH, to explore the themes of human connection, technology’s place in modern society, and the impact of humankind’s reliance upon technology to interact with each other. tRUTH has been met with overwhelming success, having won multiple awards in addition to being selected for twenty three film festivals to date. When asked how the film’s concept came about, Sylvie explains “The idea for tRUTH came to me while I was walking around London in 2019. I saw a group of construction workers sitting next to each other, glued to their phones like robots. This image was etched in my brain, and I began to wonder what the world would be like if this dependency was taken to the extreme.” 

Plot Synopsis 

In the year 2050, technology reigns supreme in every aspect of daily life. Ruth, a young woman who appears to have a perfect life, is celebrating her seventh anniversary with her partner, Andrew, at a restaurant. After a brief stroll under the moonlight, they return home and prepare for a relaxing evening. However, Ruth receives a message notifying her that it’s time for her jogging session. She steps out onto her balcony where a treadmill awaits her. 

Soon, the rhythm of the treadmill and her surroundings begin to change rapidly. Meanwhile, Andrew, engrossed in a game of chess, notices his screen malfunctioning. The treadmill’s relentless pace becomes impossible for Ruth to keep up with, causing her to collapse. Andrew tries to reach her, but the sliding glass door between them refuses to open. He manages to calm her down temporarily, until all the screens around them suddenly fail, plunging them into darkness. 

Ruth and Andrew find themselves trapped in a grey cube, still separated by a glass barrier. Ruth becomes panicked as she realises her idyllic world is crumbling right before her very eyes. While attempting to console her, Andrew’s efforts prove to be in vain, and he drifts into his own thoughts for a brief moment. Growing increasingly desperate, Ruth pounds aggressively on the glass until it shatters and falls onto Andrew, causing him to collapse unconscious. 

Frantically, Ruth tries to revive him, but to no avail. She clings to Andrew, filled with panic. Hours pass, and suddenly, Ruth gathers her strength and has an idea. She starts patting Andrew and, upon reaching his neck, discovers something unusual—a small hatch opens, revealing a button. Ruth presses it, and Andrew’s eyes flash with lines of code. It becomes evident that he too is a robot. Images with predetermined choices reappear on the walls, and Ruth feels content that everything has returned to normal. She nestles back into Andrew’s embrace.

Virtual Production and the 3D LED Wall in Filmmaking 

Before diving into how virtual production and the 3D LED wall plays a central role in the filmmaking process for tRUTH, it’s important to note that there are three types of virtual production (VP) tools: visualisation, performance capture, and the live LED wall. Primarily utilised for live productions, the LED wall serves as the epitome of virtual production in its purest essence. It generates an image output using real-time rendering engines, which is then projected onto a screen located behind a physical set. 

These LED scenes synergize with a motion capture volume that accurately tracks the camera’s position. This cutting-edge technology delivers breathtaking visuals and offers immense design flexibility, allowing modifications at any given moment. 

How Sylvie Zaidman Pioneered the Use of 3D LED Technology in Filmmaking with tRUTH 

During her first phone call about the project with fellow filmmaker Nic Shake, it was suggested that they achieve their goal of creating an environment that would align with the futuristic vision that they both had in mind. Because the use of 3D LED technology in film is so new and relatively untouched, Sylvie knew that she would have the opportunity to really think outside of the box and allow her creativity and imagination to lead the way, giving her an incredible advantage when it came to creating the environment she wanted for tRUTH. 

Ironically enough, while the film’s concept is meant to serve as a warning of the dangers of relying on technology, it also played an important role in the filmmaking process. Having been filmed entirely using 3D LED displays, tRUTH is the first film of any length in France to have been filmed entirely using this technology. Sylvie says of her artistic choice, “For a movie with this message, it may seem paradoxical that it was shot entirely with 3D LED screens and no dialogue. But this time, it was very useful to get the result I wanted, and I am proud to say that tRUTH is the first movie entirely shot this way in France.” She elaborates, “I’m grateful to have been able to rely on this technology, which I’m sure will be used more widely in the future. And this is how it should be: technology should help us enhance our lives without becoming slaves to it!”

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In her directorial debut, Raindance Film School

MIA Khalifa has mocked trolls who have slammed the name of her new brand after it launched earlier this week.

Her controversial body jewellery line, Sheytan, has caused a stir among fans after they discovered the meaning behind its moniker.

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Mia Khalifa came under fire for her jewellery brand’s controversial name
She shared a racy video to Instagram on Monday as she launched her line Sheytan

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She shared a racy video to Instagram on Monday as she launched her line SheytanCredit: Instagram/@miakhalifa

Ex-porn star Mia launched her new business venture and decided to drum up some business with a racy video on Instagram.

She finally brought her spin on her favourite body accessories – that she is rarely seen without – to the masses on Monday.

But after months of building up the tension ahead of its reveal, Sheytan’s debut has been shrouded by criticism from some fans.

A number of people weren’t impressed that Mia had chosen a name that translates to “devil” in her native language, Arabic.

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Social media users slammed the former Pornhub prodigy, 30, for using the term and promoting it to her audience.

But Mia refused to let her big moment be marred by hate from trolls and instead laughed at them for “losing their minds.”

Her weapon of choice was a TikTok sound of rapper Nicki Minaj branding her critics “obsessed and sick”, which she mimed to.

Donning a bright pink robe, she looked unbothered as she hit back at people scolding her name choice.

Mia captioned the clip: “Arabs losing their mind over naming my jewellery brand ‘Diabla’ in Arabic.”

The video quickly racked up a whopping 393,000 views as her legion of followers rushed to voice their support in the comment section.

One wrote: “It’s beautiful jewellery just like you, love!”

Another said: “That’s a fire name, makes me want to purchase even more.”

A third added: “I cannot wait to use this audio covered in your body jewellery.”

And a fourth chimed in: “I’M OBSESSED. I want everything.”

Others were keen to discover when Mia was restocking some of her sold-out pieces and when she was releasing more designs.

The influencer previously defended her brand’s name before she had even revealed what products would be on offer.

She insisted Sheytan was merely a nod to her heritage and was a playful term with “cheeky” connotations.

She told her followers in a TikTok rant last December that if they had a problem with the name, “simply don’t purchase” from her.

Mia fumed: “I haven’t even announced what it is yet, so I can’t say too much, but simply keep your money. I don’t need it.

“If you have a problem with it being used in the name of a company, why don’t you have a problem with it being used when….

“When you’re talking about little kids running around misbehaving, you call them Shaytan. In Arabic, you call them little Shaytan.

“What do men call a woman who’s walking by wearing a skirt that’s slightly too short for their liking? They call her Shaytan.

“Then what do we do? What do women do? We take that word back, we reclaim it and we make it our own, which is the reason I still use the name Mia Khalifa because it is a reclamation. It is my way of reclaiming something that is mine.”

She introduced Sheytan to the world and set hearts racing with a 15-second clip of her flaunting her gorgeous gold designs that was filmed in Paris, France.

Mia is seen wearing her body jewellery while frolicking in the streets, charging up a set of subway stairs and sipping a drink in a cafe.

She then climbs into a vintage car to offer a close-up view of her £78 hand chain, before seductively eating oysters.

The former adult star then puts on a show in a bath of luminous blue water – while dually proving her products won’t get tarnished during a swim or shower.

The Lebanon-born stunner previously explained her jewellery line was inspired by belly dancers from the 1930s and 40s.

She has been hard at work for several months producing the range of luxury body chains, ankle bracelets and necklaces.

After finally letting her secret project slip, Mia said she was “bursting with pride” as her fans rushed to get their hands on her pieces.

Items from Sheytan are produced by “carefully selected” professionals in Florence, Italy and Wales, UK, depending on your order.

The latest addition to Mia’s business portfolio is sure to boost her already hefty net worth of around £4.3million.

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She unveiled a new joint venture with rapper Wiz Khalifa in April, revealing the pair would push their signature blend of marijuana.

The Lebanon-born stunner seems to love splashing her cash on a stunning collection of cars and has glitzy motors worth hundreds of thousands in her garage.

The former adult star defended her brand's name and mocked trolls in a TikTok

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The former adult star defended her brand’s name and mocked trolls in a TikTokCredit: sheytan.world / instagram
Sheytan boasts a range of stylish and sexy body jewellery

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Sheytan boasts a range of stylish and sexy body jewelleryCredit: sheytan.world / instagram

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MIA Khalifa has mocked trolls who have

History was made on Thursday morning when talks between SAG-AFTRA and the Alliance of Motion Picture and Television Producers (AMPTP) ended Wednesday night without an agreement on a new contract.

Now members of SAG-AFTRA’s negotiating committee have unanimously voted to recommend the guild go on strike, and a formal vote will be put to SAG-AFTRA’s national board Thursday morning.

If the vote passes, as it is expected to unanimously, SAG-AFTRA will order its 160,000 members to go on strike from all television and film productions, joining members of the Writers Guild of America who have been on strike since May 2.

“SAG-AFTRA negotiated in good faith and was eager to reach a deal that sufficiently addressed performer needs, but the AMPTP’s responses to the union’s most important proposals have been insulting and disrespectful of our massive contributions to this industry. The companies have refused to meaningfully engage on some topics and on others completely stonewalled us,” said guild president Fran Drescher in a statement.

“Until they do negotiate in good faith, we cannot begin to reach a deal. We have no choice but to move forward in unity, and on behalf of our membership, with a strike recommendation to our National Board. The board will discuss the issue this morning and will make its decision,” Drescher continued.

“The studios and streamers have implemented massive unilateral changes in our industry’s business model, while at the same time insisting on keeping our contracts frozen in amber. That’s not how you treat a valued, respected partner and essential contributor,” added chief negotiator and national executive director Duncan Crabtree-Ireland.

“Their refusal to meaningfully engage with our key proposals and the fundamental disrespect shown to our members is what has brought us to this point. The studios and streamers have underestimated our members’ resolve, as they are about to fully discover,” he continued.

In its own statement, the AMPTP said it was “deeply disappointed” that SAG-AFTRA ended talks without a deal.

“This is the Union’s choice, not ours. In doing so, it has dismissed our offer of historic pay and residual increases, substantially higher caps on pension and health contributions, audition protections, shortened series option periods, a groundbreaking AI proposal that protects actors’ digital likenesses, and more,” the statement read. “Rather than continuing to negotiate, SAG-AFTRA has put us on a course that will deepen the financial hardship for thousands who depend on the industry for their livelihoods.”

“AMPTP Has Abused Our Trust”

SAG-AFTRA negotiators entered talks with the AMPTP in early June with a strike authorization given to them by the votes of over 63,000 members. Among the key issues include stricter regulations on self-taped auditions, rules regarding consent and compensation for AI recreations of performers’ work and likeness, and increases in residuals for streaming films and TV shows.

While there was some optimism for a deal after guild leaders released a video on the progress of negotiations and the contract deadline was extended from June 30 to July 12, individuals with knowledge of the talks said that both sides were unable to overcome sticking points on several key issues.

On Tuesday, SAG-AFTRA and AMPTP both agreed to inviting a neutral mediator from the Federal Mediation and Conciliation Service for the final day of talks, but SAG-AFTRA voiced its frustration with AMPTP after the studio reps’ request for mediation was reported in the press before the guild’s negotiating committee was notified.

“The AMPTP has abused our trust and damaged the respect we have for them in this process. We will not be manipulated by this cynical ploy to engineer an extension when the companies have had more than enough time to make a fair deal,” the guild said in a statement.

Hollywood Shutdown

The strike immediately shuts down any lingering film and TV productions that were still pressing forward despite the ongoing writers’ strike, including Tom Cruise’s eighth “Mission: Impossible” film, which was on a scheduled production pause to allow Cruise and the film’s cast to promote the freshly released “Mission: Impossible — Dead Reckoning Part One.”

Actors will also strike from any promotional events for films and TV shows, including movie premieres, press junkets, fan events like San Diego Comic-Con, and awards ceremonies like the upcoming Emmys, which are supposed to begin preparations after nominees were announced on Wednesday and may be postponed.

With no cameras rolling and no press events to promote the newest films hitting theaters, Hollywood would be locked into a standoff between the studios and its most prominent creative minds to see which side can withstand the financial strain of a strike, which has already lasted ten weeks for the WGA. Along with the lack of income for the striking union members, countless below-the-line workers and third-party businesses that support the entertainment industry are also affected.

It’s Been 63 Years

The only other double strike in Hollywood history took place in 1960, when the Screen Actors Guild, led by Ronald Reagan, went on a strike that lasted six weeks in March and April.

When SAG took to the picket lines then, they shared a common cause with the WGA, who had already been on strike since January. With television continuing its rise in the postwar era, networks were now broadcasting feature films, and neither screenwriters nor actors were seeing any compensation for it.

The WGA would have to stay on the picket lines for 148 days before a deal was made, but the result of the strike was the first ever structure for residual payments on motion pictures, as well as the creation of an independent pension plan.

20 years later, The Screen Actors Guild and the American Federation of Radio and Television Artists both staged what until now was the last film and television strike by actors, this time over residuals for the then-growing VHS format. Like today, the Emmys were affected by the strike as nominated actors boycotted the event with the exception of Powers Boothe, who attended to accept his award for his work in the miniseries “Guyana Tragedy: The Story of Jim Jones”

“This is either the most courageous moment of my career or the stupidest,” Boothe said in his acceptance speech. “I also thought long and hard whether or not I would attend, but I came here because this is America and one must do what one believes. I believe in the academy. I also believe in my fellow actors in their stand.”

Now, like television and home video before it, streaming and artificial intelligence have created a new labor revolt in Hollywood, as writers and actors look to change the status quo away from what they fear will be an exploitative future.

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History was made on Thursday morning when

Netflix is bringing the zombies back.

Above is the first trailer for Zombieverse, the streamer’s upcoming survival series set in the South Korean capital Seoul. Netflix has set a release date on August 8.

The 47-second trailer shows carnage in downtown Seoul, as contestants seek to escape flesh-eating foes. A newsreader voice over talks of “multiple patients” coming down with an “unknown infection” and showing “unusual, violent symptoms” as scenes of zombies attacking people in the neon streets unfold. Scenes in shops, theme parks and car parks also flash up.

“We’re going to die. We’ll all be killed,” says one as the drama ramps up.

The ambitious show uses all the tropes and format beats of zombie dramas such as The Walking Dead, Kingdom and All of Us Are Dead, but places them into a reality TV setting. Korean papers are reporting the art team behind All of Us Are Dead and the choreographers from Kingdom are attached to the series, details of which have been scant since the show was announced last year.

The format will force a group of ‘survivors’ who have to work together to find food, water, transport and shelter. They are given tasks each day to ensure survival but if any one is ‘bitten’, they exit the game. Producers are Park Jin-kyung, who made popular Korean show My Little Television for MBC, and Moon Sang-don, who made travel series Hey! First Time in Korea?.

Contestants include actor Lee Si-young, who appeared in thriller series Sweet Home, based on the Naver webtoon of the same name. Comedian Park Na-rae, rapper DinDin, ex-Korean baseball pitcher Yoo Hee-kwan, Kim Jin-young of “Single’s Inferno 2 and other are among the survivalists.

Previous attempts to bring zombie survival together with reality TV include BBC Three series I Survived a Zombie Apocalypse, which ran in the UK in 2015.

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Netflix is bringing the zombies back. Above is

This year’s Emmy nominees will highlight a more diverse crop of actors, with Latino performers having a particularly strong showing.

Of course, much of that is thanks to Pedro Pascal, who has become the most-nominated Latino in a single year with three noms. He’s recognized for his work in “The Last of Us” as lead drama actor, “Saturday Night Live” as guest comedy actor and “Patagonia: Life on the Edge of the World” as the narrator. Pascal’s nomination for HBO’s dystopian video game adaptation makes him only the second Latino ever recognized in the drama category after Jimmy Smits’ four consecutive noms for “NYPD Blue” from 1996-1999. But there were some notable Latino stars who didn’t hear their names read — namely, Diego Luna, who was snubbed for Disney’s “Andor,” despite its best drama series nomination.

Elsewhere, Netflix’s origin series “Wednesday” made star Jenna Ortega the third Latina ever recognized in lead comedy actress — following Rita Moreno for “9 to 5” in 1983 and America Ferrera’s two noms for “Ugly Betty” in 2007 and 2008. Ferrera is the only winner among the trio. Ortega is also the second youngest in the category after Patty Duke, who was 17 in 1964 for “The Patty Duke Show.”

Selena Gomez was snubbed again for her performance as the dry-witted Mabel in Hulu’s “Only Murders in the Building,” despite earning great reviews for her work. However, she is recognized as one of the show’s nominated executive producers in the best comedy series category. She’s only the third Latina ever nominated for producing.

Aubrey Plaza, who is half Puerto Rican, picked up her first career nod for supporting actress in a drama for “The White Lotus,” becoming the third Latina nominated in the category after Morena Baccarin for “Homeland” in 2013 and Alexis Bledel for “The Handmaid’s Tale” in 2018.

Supporting comedy actress set a record with four Black women nominated. They include Ayo Edebiri (“The Bear”), Jessica Williams (“Shrinking”) and Janelle James and Sheryl Lee Ralph (“Abbott Elementary”). No acting category has ever had more Black women in it.

Last year, Quinta Brunson made history, becoming the first Black woman to win solo for writing the pilot episode of ABC’s “Abbott Elementary.” But she won’t repeat the feat this year, having missed out on a nomination for penning the season two opener titled “Development Day.” As it stands, no Black woman has ever been nominated for writing more than once.

But Brunson is still vying for best lead actress in a comedy, for producing the show and for hosting “SNL.” Elsewhere, Dominique Fishback picked up a surprise nomination for lead actress (limited) for Prime Video’s “Swarm,” and at 32 she’s the youngest Black woman recognized in the category.

Two-time Emmy-winning director Paris Barclay, who helms the finale of Netflix’s limited series “Dahmer — Monster: The Jeffrey Dahmer Story,” becomes the first Black person to be nominated in all three directing series categories. His previous noms were for “NYPD Blue” and “The West Wing” in drama and “Glee” in comedy.

Additionally, “Nailed It” emcee Nicole Byer is now the most-nominated Black woman for outstanding host with four nods. However, she has yet to convert any of these into wins.

Asian representation among the Emmys was strong with Netflix’s “Beef” landing multiple noms for its actors Steven Yeun, Ali Wong, Young Mazino and Joseph Lee. In addition, Kumail Nanjiani was able to sneak into the lead actor (limited) lineup for Hulu’s “Welcome to Chippendales,” another surprise inclusion.

Nonbinary actor Bella Ramsey, who uses they/them pronouns, is the second openly nonbinary actor ever nominated. Their recognition for “The Last of Us” comes after Carl Clemons Hopkins, another nonbinary performer, was nominated for “Hacks” in supporting comedy actor in 2020. At 19 years old, Ramsey is the fourth youngest person ever nominated in lead drama actress behind Kristy McNichol (17 in 1980 for “Family”), Claire Danes (16 in 1995 for “My So-Called Life”) and Melissa Sue Anderson (15 in 1978 for “Little House on the Prairie”).

And 10-year-old Keivonn Montreal Woodard, who walked away with an inspired nom for “The Last of Us,” is the second deaf actor ever to be nominated for acting behind Marlee Matlin. No deaf person has ever won an Emmy award for acting. In fact, there’s only been one person to win an Emmy in history across all categories — Julianna Fjeld, an executive producer who won for outstanding drama/comedy special for the Hallmark movie “Love Is Never Silent” (1985). In addition, he’s now the youngest male actor ever nominated for an acting award, beating Fred Savage (who was 13 when nominated for “The Wonder Years”).

But the Emmys opted to ignore more senior honorees. Several veteran stars who were expected to be nominated such as Steve Martin and Shirley MacLaine (“Only Murders in the Building”), Harrison Ford (“1923” and “Shrinking”) and Helen Mirren (“1923”), were snubbed.

More work to do, but a hopeful trend upward.

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This year’s Emmy nominees will highlight a

But at the same time, you need to be able to point out all the things that people have found problematic about Barbie. Greta would say, run toward that, that’s going to be more interesting.

What were their biggest concerns?

ROBBIE There was a long laundry list of concerns. By the way, we had total freedom. They weren’t allowed to dictate the movie, but we didn’t want to make a movie that they weren’t going to be supportive of as well.

Some things are tiny, like her referring to herself as Stereotypical Barbie. The word “stereotypical” has negative connotations attached to it. They asked if we would consider a different word. Sure, I said, “We could call her Generic Barbie or Original Barbie or Blond Barbie.” But the word “stereotypical” is important because she is already putting parameters around herself that she is, later in the movie, going to step out of and break free. So that’s important for her journey. She needs to start there, referring to herself as Stereotypical Barbie, because she’s already putting herself down without realizing it.

Ryan, can you describe how you felt after you first read the script?

RYAN GOSLING Well, the title page said “Barbie and Ken,” and the “and Ken” was scratched out. It was obviously not what I expected. It’s so elegantly and brilliantly designed by Greta and Margot to be like a theme park or something, where you don’t really need a map. It’s already engineered so that you hit all the spots they want you to hit without you knowing it. I went on the ride and I’m still going on it. I don’t want to leave the park. They are kicking me out. “The park is closing, sir.” But I ordered churros and they are coming, I swear.

What do you two say about this mini-hubbub over Ken’s age and Ryan being too old to play him?

GOSLING #NotMyKen.

ROBBIE Barbie and Ken are technically in their 60s. So whatever. The first thing I thought when I heard that was, in “Grease,” they are supposed to be high schoolers, and not once in the 150 times that I’ve watched “Grease” over the years did I ever not enjoy “Grease” because I was like, “I need to go check what age they were.” They found the most charismatic, talented people to dazzle me. And that’s why I love that movie.

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But at the same time, you need

The union representing Hollywood actors is poised to strike and join writers on picket lines in back-to-back walkouts for the first time since 1960, widening the labor conflict that has roiled the film and TV industry.

Despite the involvement of a federal mediator who was brought in at the eleventh hour to help resolve the conflict, groups representing the actors and the studios were unable to agree to a new film and TV contract before a Wednesday night deadline.

By an overwhelming 98%, the union’s members previously authorized their leaders to call a strike if they could not secure a new contract to replace one that was originally set to expire June 30.

SAG-AFTRA leaders said early Thursday that the guild’s negotiating committee had voted unanimously to recommend to the union’s national board of directors that they formally approve a strike action, which could begin as early as Friday with pickets likely to take place in Los Angeles, New York and other cities.

“SAG-AFTRA negotiated in good faith and was eager to reach a deal that sufficiently addressed performer needs, but the AMPTP’s responses to the union’s most important proposals have been insulting and disrespectful of our massive contributions to this industry,” said SAG-AFTRA President Fran Drescher in a statement. “The companies have refused to meaningfully engage on some topics and on others completely stonewalled us.”

SAG-AFTRA’s national board will vote Thursday morning on whether to strike. The union said it plans to hold a press conference at noon in Los Angeles after the vote.

Tensions escalated on Tuesday when SAG-AFTRA blasted the Alliance of Motion Picture and Television Producers, which represents the studios in labor negotiations, over a last-minute proposal to bring in a federal mediator to help resolve the labor conflict.

The AMPTP made the request for assistance from a federal mediator after several top Hollywood executives, including Warner Bros. Discovery boss David Zaslav, held calls to discuss the labor standoff.

Leaders of the 160,000-member union called the move a “cynical ploy,” saying they had not been notified of the mediator proposal before news of it was leaked to a trade publication.

And there was little expectation that the mediator from the Federal Mediation and Conciliation Service — who only joined negotiations on Wednesday — would have enough time to settle the conflict before the midnight deadline.

The studio alliance, in a statement, put the blame on SAG-AFTRA by saying the union rejected its offer of “historic” increases and pay and residuals, among other things including a proposal to protect actors’ likenesses amid the rise of AI.

“We are deeply disappointed that SAG-AFTRA has decided to walk away from negotiations,” the AMPTP said. “This is the Union’s choice, not ours… Rather than continuing to negotiate, SAG-AFTRA has put us on a course that will deepen the financial hardship for thousands who depend on the industry for their livelihoods.”

An actors’ strike would create a new crisis for Hollywood, which has been upended by a writers’ strike that began May 2. A walkout by actors in addition to writers will halt any remaining scripted production activity and will likely have widespread effects on planned movies and TV shows.

At stake is the fall TV season of new shows and existing series that have in many cases already been delayed by the writers’ strike.

Further production shutdowns and uncertainty also will deal a blow to Southern California’s economy, with thousands of crew members in the region and small businesses that depend on the region’s cornerstone entertainment economy.

Negotiations between SAG-AFTRA and the AMPTP began on June 7. Talks were extended until July 12 to allow more time for bargaining after guild leaders said they were making good headway.

However, the sides remained far apart on key issues, said sources familiar with the negotiations who were not authorized to comment.

Like writers, actors say they’ve been short changed by the streaming revolution and are seeking to boost the residual payments they get when shows are distributed on Netflix and other platforms.

One especially contentious issue: SAG-AFTRA is demanding a significant boost in residual payments from streaming platforms to reflect the success of shows and how those payments are calculated. In particular, studios have balked at a demand that a third-party firm would be used to estimate viewership and have argued that many of the platforms are not yet profitable.

Additionally, actors have demanded higher wages to counter the rise of inflation, boosts to the union’s health and pension plan, and safeguards around the use of AI, which has emerged as a major issue of concern for performers.

SAG-AFTRA also has highlighted concerns about the growing use of self-tape auditions that are time-consuming and costly for actors.

“The studios and streamers have implemented massive unilateral changes in our industry’s business model, while at the same time insisting on keeping our contracts frozen in amber,” National Executive Director and Chief Negotiator Duncan Crabtree-Ireland said in a statement. “The studios and streamers have underestimated our members’ resolve, as they are about to fully discover.”

The last time actors went on strike over their film and TV contract was in 1980. That dispute, which lasted more than three months, was sparked by the union’s demands to secure a larger cut of profits from the emerging home video market.

Two decades later, SAG members went on strike for six months over a fee system for commercials.

This is the first strike for SAG-AFTRA, which formed in 2012 in the contentious merger of the Screen Actors Guild and its sister union, the American Federation of Television and Radio Artists.

The AMPTP has yet to resume talks with writers. The alliance negotiated an agreement with the Directors Guild of America in June that secured increases in pay, a new residual based on international subscriptions to streaming platforms and restrictions on the use of AI.

But representatives of the WGA and SAG-AFTRA said the contract did not go far enough to resolve their issues and that they would not be bound by another union’s terms.

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The union representing Hollywood actors is

While the Marvel Cinematic Universe has largely shied away from the Inhumans, following ABC’s disappointing 2017 series, that may soon change.

Fans have long clamored for Anson Mount’s Inhuman leader Black Bolt to make a formal entry in the MCU.

Black Bolt Inhumans

Photo: Vox

In Doctor Strange in the Multiverse of Madness, Mount did appear as Black Bolt, albeit a variant from another timeline.

Although the Inhuman, and the rest of the Illuminati, were quickly killed off by Wanda Maxmimof, Mount’s MCU career may not be over yet.

Anson Mount Black Bolt

Photo: Giant Freakin Robot

Could Black Bolt Return?

In a recent interview with Radio Times, Anson Mount teased that he could be in line for an MCU comeback.

When asked if there was any plans to bring Black Bolt into the proper MCU timeline, Mount revealed that he has had some “informal” conversations.

Black Bolt Inhumans

Photo: The Illumanerdi

“If the answer was yes, I wouldn’t be able to tell you – but the answer is no, so I can. I’ve had some informal conversations with the powers [at] Marvel and it’s a conversation, but they’ve got their current phase that they need to do,” Mount said.

While nothing is official yet, Mount has made it clear that he would love to return as Black Bolt.

Inhumans Black Bolt

Photo: Geekosity

“I don’t know, we’ll see. I would love to jump back into the cowl and do it again. And I love Black Bolt as a character.”

Where Could We See Black Bolt Again?

This isn’t the first time that Mount has expressed interest in returning to the MCU. Following the death of his character’s variant in Multiverse of Madness, said of a potential Black Bolt story, “From your lips to God’s ears”.

Inhumans Black Bolt

Photo: Screen Geek

While a deep dive into the Inhumans is unlikely (Marvel already changed Miss Marvel from an Inhuman to a mutant), it would be great to see Anson Mount get to properly do Black Bolt’s story justice.

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In the Penn Badgley movies and TV shows we have seen so far, the actor has excellent performances. So, he has many viewers who are his fans and follow his career closely. Plus, he’s also a talented musician.

Badgley, born in Baltimore, moved to Hollywood to focus on his acting career. He participated in several movies and series since 1999, but his recognition intensified when he was part of the cast of The CW’s Gossip Girl series. Currently, he’s also conquering the public through his leading role in Netflix’s You. Below, you’ll find a list of the best performances that this actor has had throughout his career:

10 Cymbeline

Lionsgate

This is a 2014 crime thriller film produced by Michael Almereyda. Cymbeline is based on a Shakespeare play and features performances by Ethan Hawke, Ed Harris, and Milla Jovovich. The story tells of a war between corrupt cops and a biker gang. All the events take place in New York. Although the film didn’t receive excellent reviews, Badgley played the role of Posthumus, Imogen’s husband, whom he finally intends to kill. This earned him a good reception in his career.

9 Parts per Billion

Penn Badgley Parts per Billion
Millennium Entertainment

This film was released in 2014 and was directed by Brian Horiuchi. Parts per Billion falls into the romance genre, and its cast includes actors such as Frank Langella, Rosario Dawson, and Gena Rowlands, among others. The story is about three couples who’re indirectly connected to each other. However, they must deal with an impending biological attack.

Penn Badgley played Erik, a struggling musician living off his family’s wealth, and his girlfriend is Anna. While she worries about their relationship, he’s more focused on his musical composition. Although the movie wasn’t a box office success, it’s a pretty good role for the actor.

Related: You Season 4: Ending Explained

8 John Tucker Must Die

Penn Badgley John Tucker must die
20th Century Fox

John Tucker Must Die was directed by Bett Thomas. The plot revolves around a trio of teenage girls who intend to break the heart of John Tucker, the school’s basketball star. This is after he had secretly dated all three and promised them, they were “the one,” so they devise a plan with a shy, unpopular girl to make a fool of him. Badgley plays Scott Tucker, John’s brother, who is close to Kate, the protagonist, and is the girl recruited for the plan. He has always shown concern for her and at the end hints that they are starting to date, while remaining her lab partner.

7 The Stepfather

Penn Badgley Stepfather
Sony Pictures Releasing

This is a psychological thriller released in 2009 and is a reboot of a 1987 film of the same name. The Stepfather was directed by Nelson McCormick, and featured performances by various personalities, such as Dylan Walsh, Sela Ward, Amber Heard, and Jon Tenney. The plot revolves around John List, a serial killer. David Harris tries to fit in with a family, however, his stepson, Michael Harding, becomes suspicious of him. Penn Badgley played the role of Michael, the stepson, and caught us in the suspenseful atmosphere as much as he could, even though the film wasn’t so well received. However, he was nominated for a Teen Choice Award for Best Actor in a Thriller.

6 Do Over

Penn Badgley Do over
HS Productions

This was a 2002 production aired by The WB, and falls into the fantasy comedy genre. Do Over featured Angela Goethals, Josh Wise, and Natasha Melnick. The plot revolves around Joel Larsen, a man who’s a newspaper salesman, depressed, single, and disappointed in life, and the people around him. One day, defibrillator paddles are accidentally discharged into him, and he has the opportunity to relive his childhood, back in 1981, when he was 14 years old.

Badgley plays the protagonist Joel as a child. He comes across as a lovable character, although, of course, this was from when the actor was a teenager. Likewise, he went on to win over audiences, even though the series only lasted one season due to its cancelation.

5 Margin Call

Penn Badgley Margin Call
Lionsgate

Margin Call is a dramatic film released in 2011, which was directed by J. C. Chandor, being his first film. The plot revolves around the history of Wall Street during the initial stages of the financial crisis faced in 2007-2008. It tells the events that occurred in a period of 24 hours. It also featured performances by great actors such as Kevin Spacey, Jeremy Irons, Paul Bettany, and Zachary Quinto.

Badgley played the role of Seth Bregman, who’s a junior risk financial analyst and works hand in hand with Eric Dale. His character gets caught up in an air of corruption and greed and must deal with the chaos after his partner is fired.

4 Greetings from Tim Buckley

Penn Badgley Greeting from Tim Buckley
Focus World
 

Greetings from Tim Buckley is a 2012 film that tells the story of Jeff Buckley, who took the legacy of his late musician father and decided to start performing his songs in public. He also strikes up a friendship with Allie, and she helps him discover his potential in his voice. The film was directed by Daniel Algrant and starred Imogen Poots. Penn Badgley played the story’s protagonist, Jeff Buckley. He comes across as a deep character who’s always playing his father’s songs in a very touching way. In fact, this was an incredible opportunity for the actor, as he wasn’t only to exploit his gifts in this field, but also as a musician.

3 Easy A

Penn Badgley Easy A
Sony Pictures Releasing

Easy A was produced by Will Gluck and released in 2010. It stars Emma Stone, Patricia Clarkson, Stanley Tucci, among others. This is a teen romantic comedy film, which follows the story of Olive Penderghast, a 17-year-old student living in Ojai, California. As a result of pressure from her circle to lose her virginity, she crosses paths with Todd, and a bond begins to develop between the two. Penn Badgley plays Todd, a unique character in the comedy genre. He’s nicknamed “Groundhog,” because he wears the uniform of the school mascot during important events. This easily captivated the audience.

2 Gossip Girl

Penn Badgley Gossip Girl
The CW

Gossip Girl is a teen drama series that is in the hearts of many. It was based on the book series written by Cecily von Ziegesar and aired for six seasons on The WC from 2007 to 2012. The plot revolves around some upper-class teenage girls from the Upper East Side of Manhattan, who’re hypersexual and are always under constant surveillance as they try to carry out their follies.

Related: Gossip Girl: Most Significant Movies Referenced by the Episodes’ Titles

Badgley plays Dan Humphrey and is a student at St. Jude’s School for Boys. He lives in Brooklyn and is not an inherited student like those on the Upper East Side. In fact, he attends his school on a partial scholarship, which makes him not fit in with the upper-class students. This character captivated audiences and was what catapulted Penn’s success on screen.

1 You

You
Netflix

This series, which is currently in production, is arguably the jewel of Penn Badgley’s performances so far. The story is in the genre of psychological suspense and tells the story of Joe Goldberg. He’s the manager of a bookstore and, subsequently, a serial killer. He falls in love with Beck and develops an extreme obsession with her. However, in his next seasons, he tries to escape his past and gets involved with Quinn in an even more twisted story.

The actor plays the protagonist of You and captivated the audience from episode one for his mysterious and calm aura. This has led to him being nominated for several awards, and Joe is recognized as Penn Badgley’s best role to date.

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In the Penn Badgley movies and

The US Federal Trade Commission (FTC) has confirmed it will appeal a court’s decision to allow Microsoft to proceed with its $70bn acquisition of Activision Blizzard.

On Tuesday, Judge Jacqueline Scott Corley of the United States District Court for the Northern District of California denied the FTC’s motion for a preliminary injunction.

Had it been granted, the injunction would have blocked the $69 billion deal from being completed until the US regulator’s in-house court had a chance to rule on whether the merger hurt competition in the games industry.

Wednesday’s appeal from the FTC means it now has a chance to convince the appeals court that the ruling was incorrect.

However, a restraining order expiring on Friday, July 14 means that, barring an extension from the appeals court, Microsoft will be able to push through and close the deal this weekend.

“The District Court’s ruling makes crystal clear that this acquisition is good for both competition and consumers,” Brad Smith, Microsoft’s president, said in a statement to The Verge.

“We’re disappointed that the FTC is continuing to pursue what has become a demonstrably weak case, and we will oppose further efforts to delay the ability to move forward.”

Pending the outcome of the FTC’s appeal, the ruling removes one of the last major obstacles preventing the deal from being completed. The European Commission approved Microsoft’s acquisition of Activision Blizzard in May.

Earlier this week the UK’s Competition and Markets Authority paused legal proceedings with Microsoft and Activision Blizzard with a view to reaching an agreement over the game companies’ proposed merger, after the deal was cleared in the US.

However, while the regulator has said it’s ready to consider a restructured deal proposal, it has warned that this process may require it to carry out a fresh merger investigation.