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It’s a social media app that blends TikTok-esque user videos, mobile gaming and donations to charitable causes.

Robert Weiss, a TV producer-turned-executive-turned digital entrepreneur, calls it Roar Social, and he’s spent the past three years fine-tuning the app experience that he has dubbbed “gamified giving.” Backed by $10 million in seed funding, Roar Social is set to launch beta form later this year on Apple’s App Store.

Weiss has been nurturing the big idea behind Roar Social for more than 10 years. But it was during the hard early months of the pandemic, in August 2020, when he felt the time was right to dig in to developing an platform designed to bring one-swipe ease to making charitable donations via an entertaining digital media experience. The emergence of the TikTok video format changed everything.

Now Roar Social has a video vehicle to encourage blue-chip brands to support social media creators who post content via the app. Roar Social will be organized by issues and causes, with users selecting their “Hero Cause” and other attributes to guide the algorithm. Users will be encouraged to put money into a wallet that they can tap a la an in-app purchase to dispense charitable donations in small or large increments around various posts affiliated with causes or broad themes such as climate change, animal welfare and hunger. The more engagement a Roar Social post generates, the more charitable donations raised for its associated cause, via both users and brands.

Roar Social asserts that it will never take any cut of the donations facilitated by its platform. The company’s plan is to monetize its user base through advertising and brand partnerships. Instead of “likes” or heart symbols, Roar Social users will bestow “gives.”

Although the social media landscape is increasingly crowded, Weiss has confidence that the mix of gaming and doing good will be catnip to Gen Z. The company’s initial marketing effort will seek to persuade social media creators to post content that has already produced for TikTok, Instagram Reels and YouTube Shorts on Roar Social as well, if only to generate charitable dollars for favorite nonprofits.

“It’s my belief that we don’t have to offer any incentives other than the platform. It’s a place where you can have fun and make a difference at the same time,” Weiss tells Variety. “We’re leveraging the generational shift with Gen Z. Almost every person we’ve opened this up to in the 16-36 demo can’t believe something like this doesn’t already exist. This generation will not need any convincing to add this to their portfolio of social media platforms.”

Roar Social is based in West Hollywood and has about 50 employees in total. The initial seed round of funding came from a mix of wealthy individuals, serial-investor types, family offices and “a bunch of people of private equity whose firms normally don’t get involved at this stage have personally invested money in Roar,” Weiss said.

Weiss intends to conduct a Series A round of fundraising later this year. For now, the company is collecting signups in order to raise the curtain soon to allow beta users to begin test-driving the app.

Weiss’ background in digital media includes a stint as chief operating officer of EQAL, the early influencer digital media venture that worked on websites and digital fan communities with Jennifer Lopez, Elizabeth Banks, Bethenny Frankel and other celebrities. He’s also lead or worked with such software and consumer technology startups including FanDragon, RockYou, BANG and PollPals.

Earlier in his career, Weiss worked as a producer and programming executive at VH1, FX, Fuse and Ovation. He’s tapped his longstanding industry connections to assemble an advisory board with the goal of having each member bring specific expertise or industry connections to aid Roar Social’s launch. The board includes longtime Gates Foundation CEO Jeff Raikes, philanthropist-entrepreneur Mark Rockefeller, MTV co-founder John A. Lack, Brandtech Group partner Emma Cookson, Richard Sarnoff, KKR’s chairman of media; social networking pioneer Andrew Weinreich, YouTube and Hulu alum Heather Moosnick and former UTA digital agent Barrett Garese.

Weiss emphasized that the early reception to the Roar Social from the advertising community has been strong. The company is in early conversations with Target and Starbucks to become partners with the platform. Among Roar Social’s goals is to tap into Corporate Social Responsibility marketing budgets down the road, when advertising is more directly integrated into the platform.

“I’ve never been involved with a business where you’re having a conversation with a brand and the answer on the other end is not ‘If’ but ‘How soon,’ ” Weiss said. “Brands are going to want our data and want to work with us in an active fashion.”

Curation and moderation are clearly going to be a big priority for the fledging venture, given how ugly conversations and communication can get on social media platforms. Weiss vows to keep the platform accentuating the positive and advertiser-friendly, and he won’t be shy about eliminating the negative if need be.

“We’re setting a high bar in every instance including with data privacy,” Weiss said. “We’re taking the time to cultivate a different kind of community. We’re not naive. We know that every platform has to deal with the issue of moderation. We’re putting all the usual resources in place to detect and remove objectionable content. We will have very strict community guidelines.”

At a time when there’s been so much focus on the negative aspects of social media, Weiss feels the moment is perfect for Roar Social. He recently became a father, and having a 10-month-old son to care for has helped sharpen his vision for the app. It was important to Weiss that the team spend many months developing and stress-testing the idea, long before he engaged engineers to build the infrastructure.

“You get one chance to get it right. It’s been to our advantage to work under the radar over the last three years in a thoughtful and deliberative way,” Weiss said. “Right now people seem really open to adding more social platforms. We’re taking advantage of this generational shift.”

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It’s a social media app that blends

Rainn Wilson opened up about his experience filming beloved sitcom “The Office” during an appearance on Bill Maher’s “Club Random” podcast that debuted on Sunday, revealing that he struggled with feeling his career was stalling despite being on a juggernaut hit TV show.

“When I was in ‘The Office,’ I spent several years really mostly unhappy because it wasn’t enough,” Wilson told Maher. “I was making hundreds of thousands. I wanted millions, and I was a TV star, but I wanted to be a movie star. It was never enough.”

Wilson expressed that he’s now fully aware of how fortunate he was to work on “The Office”, but ultimately, at the time, the actor longed for bigger and better things.

“This is what I’m looking at now and realizing now: I’m on a hit show, Emmy nominated every year, making lots of money working with, like, Steve Carell and Jenna Fisher and John Krasinski and these amazing writers and incredible directors like Paul Feig,” he said. “I’m on one of the great TV shows. People love it. I wasn’t enjoying it.”

“I was thinking about, ‘Why am I not a movie star? Why am I not the next Jack Black or the next Will Ferrell?’” he continued. “How come I can’t have a movie career? Why don’t I have this development deal?’”

Maher commended his honesty and commiserated, adding “That’s so what everybody, to a degree, in show business is. Everybody who’s not at the absolute tippity-toppity-top of that tall ladder called stardom.”

Wilson appeared on “Club Random” to discuss his new book “Soul Boom: Why We Need a Spiritual Revolution,” which landed on shelves in April.

The actor was nominated for three Primetime Emmy Awards for his portrayal of Dwight Schrute in “The Office,” appearing in 188 episodes over nine seasons. See what he had to say about his journey through the role (around the 38-minute mark), and the rest of their wide-ranging conversation, from getting high and seeing the face of god to debating the ending of “Succession,” in the video below.

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Rainn Wilson opened up about his experience

First, Selena Gomez rocks a mocha manicure, and now a mocha swimsuit! 

On July 6, Gomez posted a series of jubilant summer snaps with close friend Nicola Peltz Beckham wearing this summer’s chicest swim trend: the tried and true one-piece bathing suit. With its scoop neckline and low back, the look was anything but boring and perfectly showed off plenty of the 30-year-old pop star’s tattoos. Gomez shared multiple photos in the brown textured swimsuit alongside Beckham, who wore a white string bikini. “I love you so much,” the 28-year-old heiress commented on the pics. 

One day later, Gomez posted a group of polaroids from Taylor Swift’s intimate Fourth of July bash, which she captioned, “Sometimes you need to be around empowering, kind and kick-ass gals. I needed that.” 

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First, Selena Gomez rocks a mocha manicure,

Published By: Dishya Sharma

Last Updated: July 10, 2023, 11:31 IST

Jailer’s first single Kaavaalaa was released on July 6. (Credits: Instagram)

An online user edited the Kaavaalaa music video with Shakira’s Waka Waka, and this prompted Tamannaah Bhatia to react. Here’s how.

Tamannaah Bhatia has once again wowed everyone with the first song from Rajinikanth starrer Jailer, Kaavaalaa. The makers of the film released the catchy single featuring the actress alongside the superstar, which has everyone excited for the movie. In the music video, the actress was seen showing off her stunning moves and looked spectacular, and netizens started to compare her with the popular singer Shakira. Recently, one user went ahead and changed the original music video of the song to Shakira’s popular single ‘Waka Waka’. Notably, Tamannaah’s dance moves synced naturally with the tune.

Tamannaah Bhatia came across the edit and retweeted the post with the caption, “Have to admit the sync is pretty good.” Her fans were quite amazed to see the clip and commented, “You are our Indian Shakira.” Many also pointed out that the original song is quite “energetic” and the actress looks “bubbly.”

Earlier, reports stated that Tamannaah Bhatia’s wavy hair, bralette and shirt look, and power-packed choreography were inspired by Shakira. The first single from Jailer is sung by Shilpa Rao, composed by Anirudh Ravichander, and features a colourful set inspired by tribal aesthetics. Jani Master is behind the choreography for this music video. Rajinikanth is also seen shaking a leg in the official video.

Jailer, written and directed by Nelson Dilipkumar, will be released in theatres on August 10. Rajinikanth will be seen in the character of Jailer Muthuvel Pandian, while Tamannaah Bhatia has a key role. The actress recently opened up about working with Thalaiva. Tamannah told ANI, “It is a dream come true to work with him (Rajinikanth). I will always cherish the memories spent on the Jailer set. He gifted me a book on a spiritual journey. It was so thoughtful of him. He had even autographed it.”

Jackie Shroff, Dr Shiva Rajkumar, Ramya Krishnan, Yogi Babu, Vasanth Ravi, and Vinayakan will also appear in Jailer. This marks Nelson Dilipkumar’s second outing with Sun Pictures following Beast, which starred Vijay. The director has also enlisted Malayalam actor Mohanlal for an extended appearance in the film, and this will be their first project together. Jaffer Sadiq plays an important role in Jailer.

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Published By: Dishya SharmaLast Updated: July

“Sound of Freedom,” a religious thriller led by “The Passion of the Christ” star Jim Caviezel, is becoming an unlikely box office savior. The faith-based movie about child sex trafficking has collected an impressive $40 million after six days of release.

“Sound of Freedom” opened last Tuesday, generating a mighty $14.2 million on the Independence Day holiday. The film picked up another $18.2 million between Friday and Sunday, enough to place third on domestic box office charts behind “Insidious: The Red Door” ($32.6 million) and “Indiana Jones and the Dial of Destiny” ($26.5 million). It’s playing in 2,850 North American theaters, a smaller footprint than “Insidious” and “Indiana Jones (3,188 theaters and 4,600 theaters, respectively).

“As with our July 4th numbers, today’s numbers exceed our expectations, and we’re going to continue this momentum,” said Brandon Purdie, head of theatrical distribution at Angel Studios, the independent studio that’s backing the film, in a statement. “We’re getting messages from all over the country telling us about packed theaters, sold-out theaters and spontaneous standing ovations for the film in numerous locations. Seeing this film has become a must, thanks to incredible word-of-mouth.”

Purdie also thanked AMC, Cinemark and Regal, which are three of the biggest movie theater chains in the country, for “having the courage to release ‘Sound of Freedom’ during the busiest movie season of the year.”

It’s one of the biggest openings in recent times for a faith-based film, according to Comscore, which counts this spring’s Kelsey Grammar-led “Jesus Revolution” ($15.8 million debut), 2019’s “Breakthrough” with Chrissy Metz ($11.2 million debut) and 2018’s Erwin brothers musical drama “I Can Only Imagine” ($17.1 million debut) as other top turnouts for movies that cater to religious audiences.

Hollywood rarely backs films that are geared toward this particular demographic. But when they do, it’s a sector that has proven to reliably turn out in force. A similar crowed helped to propel the low-budget “Jesus Revolution” to $53 million, enough to rank among the top 25 domestic releases of this year. “Sound of Freedom” looks to eclipse those box office returns in a matter of days, as long as momentum sustains during the week.

“Sound of Freedom” was originally set at 20th Century Fox and was completed in 2018 before Disney acquired the studio the following year and shelved the film. It’s now being distributed independently by Angel Studios, which recently released this spring’s Old Testament-inspired “His Only Son” and spent $15 million on the Caviezel-led action-thriller.

Religious and conservative media groups have rallied behind the film, which is partially crowdfunded. The Utah-based Angel Studios used other unconventional efforts to promote the film, including an app that allows people to buy and then donate tickets to those who can’t afford the price of admission. About $2.6 million of opening day sales were earned through the “Pay It Forward” app, which the company framed as a way to raise awareness about child trafficking.

Alejandro Monteverde wrote and directed “Sound of Freedom,” based on the true story of Tim Ballard (Caviezel), a former government agent who embarks on a mission to rescue children from sex traffickers in Colombia. Mira Sorvino and Bill Camp co-star.

Opening weekend audiences were enthusiastic, bestowing the film an “A+” CinemaScore. It’s the only movie playing in theaters right now with that high of a grade. Ticket buyers have been predominately female, while more than 50% of cinemagoers were over the age of 45 years old.

“There’s support for the movie from white conservative political groups, but a third of the audience is Hispanic,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “The inspiration, action and Latin America-based story are drawing a diverse audience, not just ethnically,” he adds, “but in age and gender.”

Critics have been mostly positive toward the movie, which holds a 76% on Rotten Tomatoes. Variety chief film critic Owen Gleiberman praised “Sound of Freedom” as “a compelling movie that shines an authentic light on one of the crucial criminal horrors of our time, one that Hollywood has mostly shied away from.”

“Sound of Freedom” has also stirred up some controversy, with detractors accusing the film of embellishing the reality of child exploitation and stoking QAnon conspiracy theories. Rolling Stone called “Sound of Freedom” a “QAnon-tinged thriller,” one that is designed to “appeal to the conscience of a conspiracy-addled boomer.”

Box office analysts say it’s noteworthy that “Sound of Freedom” managed to crack the top five on domestic charts in the heat of summer, a time of year that’s traditionally reserved for big-budget action tentpoles, superhero sequels or escapist romps.

“The strong response to faith-based films reflects a demand by an underserved audience who are hungry for entertainment that reflects their values and beliefs,” says Paul Dergarabedian, a senior Comscore analyst. “Such content can indeed find an enthusiastic audience, generate solid box office and impressive profits for their investors.”

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“Sound of Freedom,” a religious thriller led

Recent casting news has given fans hope that Ben Affleck’s MCU debut could be on the horizon. 

Affleck is no stranger to the world of superheroes on the big screen, having just finished a nearly ten-year stint playing the DCEU’s Batman.

But long before that, he was known as Marvel’s first on-screen Daredevil/Matt Murdock (a role currently occupied by Charlie Cox).

While the actor had seemingly put his time playing the Man Without Fear in the rearview, some are wondering if the actor could return to the role in Marvel Studios’ upcoming Deadpool 3. 

Ben Affleck Could Make His MCU Debut

Marvel

After the official announcement of Daredevil actress Jennifer Garner in Deadpool 3, it just became a whole lot more likely that Ben Affleck’s MCU debut could be on the cards as well. 

Garner, who is set to reprise her role of Elektra in the MCU threequel, starred opposite Affleck in 2003’s Daredevil before getting her own spin-off film in 2005. 

There has been no confirmation of Affleck’s involvement in Deadpool 3, but given that the film is set to explore that Daredevil world at least in part, it would make sense if the Gone Girl actor came back as the Devil of Hell’s Kitchen. 

Garner’s role is seemingly set to simply be in a “cameo” capacity, which means that Affleck’s could be a cameo as well. 

Deadpool creator Rob Liefeld also previously teased a cast for Deadpool 3 that will “will melt your face:”

“The stuff I know, it will melt your face, alright? That’s all I’m going to say, it’ll melt your face!”

So surely, Garner (along with the return of Wolverine actor Hugh Jackman) is just the tip of the cameo iceberg when it comes to the R-rated comedy. 

Will Ben Affleck Be in Deadpool 3?

Daredevil 2
Marvel

Given Garner’s involvement in Deadpool 3, many will be wondering if, in fact, Ben Affleck’s Daredevil will be close to follow. 

Right now, that remains unknown; however, it would not be all that surprising. 

Much has been made about Deadpool 3‘s Multiversal ties. Names from the MCU’s department of Multiversal management, the TVA, have been linked to the project including Owen Wilson’s Mobius and the beloved-yet-manacing Miss Minutes. 

The movie is looking like it is about to be a hilarious jaunt across the greater  Marvel Multiverse, bringing in not just characters from the MCU but the Fox X-Men universe and beyond. 

Star of the film Ryan Reynolds has already teased more from the X-Men side of things for the movie. But who is to say it will not incorporate the likes of the Fantastic Four films and potentially even more characters (like Ben Affleck) from the Daredevil movie and its spin-off?

Affleck himself seems sort of over the whole superhero thing after the ups and downs of his time working with DC, but this could be a fun opportunity for him to reclaim another of his characters that has kind of become the butt of the comic book movie joke. 

Yes, an appearance in Deadpool 3 would likely be played for laughs, but this time around the audience would be laughing with Affleck instead of laughing at him. 

Deadpool 3 is set to hit theaters on May 3, 2024.

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My Adventures with Superman highlights an impressive cast to tell new stories about the titular DC hero. 

Before Superman: Legacy introduces a new live-action Man of Steel, this new animated series will explore the younger days of Clark Kent, Lois Lane, and Jimmy Olsen in the Daily Planet while also trying to save Metropolis. 

My Adventures with Superman Cast: Every Actor & Character

Jack Quaid – Kal-El / Clark Kent / Superman

Jack Quaid

Jack Quaid lends his voice to Clark Kent, aka Superman, in My Adventures with Superman. The series is set to explore Clark’s early days of becoming the titular hero while also balancing his day job as a reporter in the Daily Planet. 

Quaid is known for Scream V, The Boys, and The Hunger Games.

Alice Lee – Lois Lane

Alice Lee, Lois Lane
Alice Lee

Alice Lee portrays Lois Lane in the upcoming DC series. It’s possible that My Adventures with Superman will explore how Clark and Lois develop feelings for each other while teaming up to save Metropolis. 

Lee is best known for playing Heather Duke in the Broadway production of Heathers: The Musical and her role as Emily Kang on Zoey’s Extraordinary Playlist. 

Ishmel Sahid – Jimmy Olsen

Ishmel Sahid, Jimmy Olsen
Ishmel Sahid

Ishmel Sahid plays Jimmy Olsen, Daily Planet photographer, and Clark Kent’s best friend. The trailer shows Jimmy helping Clark and Lois to solve crimes, indicating that he will eventually find out his best friend’s secret as Superman. 

Sahid’s previous credits include Nickelodeon’s Cousins for Life and Amazon Freevee’s Jury Duty. 

Kari Wahlgren – Ma Kent

Kari Wahlgren, Ma Kent
Kari Wahlgren

Kari Wahlgren plays Martha Kent in the animated series, Clark’s adoptive mother and the one he turns to whenever he needs advice. 

Wahlgreen is a veteran in voicing animated characters from projects such as Rick and Morty, Justice League vs. Teen Titans, and Teen Titans: Judas Contract.

Reid Scott – Pa Kent

Reid Scott, Pa Kent
Reid Scott

Reid Scott voices Jonathan Kent aka “Pa Kent” in My Adventures with Superman, Clark’s adoptive father from Smallville. 

Scott is best known for Veep, Venom, and Venom: Let There Be Carnage. 

Zehra Fazal – Leslie Willis/Livewire

Zehra Fazal, Livewire
Zehra Fazal

Zehra Fazal is the voice of Leslie Willis aka Livewire, a DC supervillain who has the powers of electricity. 

Fazal’s past voice acting credits include Catwoman: Hunted, Batwoman: Death in the Family, and Young Justice. 

Jeannie Tirado – Lana Lang

Jeannie Tirado, Lana Lang
Jeannie Tirado

Jeannie Tirado is the voice of Lana Lang in My Adventures with Superman, Clark Kent’s first girlfriend from Smallville.  

Tirado’s noteworthy roles include Leila Malcal in Code Geass: Akito the Exiled, Android 21 in Dragon Ball FigherZ, and female Byleth in Fire Emblem: Three Houses. 

Kiana Madeira – Kara Zor-El / Supergirl

Kiana Madeira, Supergirl
Kiana Madeira

Kiana Madeira voices Kara Zor-El aka Supergirl in the new DC show. The character is the cousin of Clark who was tasked to protect him, but her Kryptonian pod was knocked off-course on its way to Earth. 

In the show, it looks like Supergirl is already an established hero, and her presence makes sense due to the arrival of a dangerous new villain. 

Madeira’s past credits include Netflix shows Trinkets and Fear Street. 

Michael Yurchak – Winslow Schott

Michael Yurchak, Winslow Schott
Michael Yurchak

Michael Yurchak plays Winslow Schott, the alias of a supervillain named Toyman from the comics. 

While the character is a frequent enemy of Superman, it is unknown if the same will happen in the series, considering that Schott was portrayed as Kara Danvers’ best friend in the Arrowverse’s Supergirl series. 

Yurchak’s previous credits include The Christmas Chronicles, Super Troopers 2, and Beerfest. 

Azuri Hardy-Jones – Flip

Azuri Hardy-Jones
Azuri Hardy-Jones

Azuri Hardy-Jones plays Flip, a member of the Newsboy Legion. In the comics, the Newsboy Legion is a group of kids fostered by police officer Jim Harper aka the Guardian. 

Hardy-Jones is known for 2019’s Water Helps the Blood Run. 

Michael Emerson – Brainiac

Michael Emerson, Brainiac
Michael Emerson

Michael Emerson is the voice of Brainiac, one of the main villains of My Adventures with Superman. In June 2022, Emerson told Starry Constellation Magazine that this version of Brainiac is a “rogue AI who now controls the whole Kryptonian empire.”

Emerson is known for Batman: The Dark Knight Returns, The Legend of Zorro, and the Saw franchise.  

Darrell Brown – Perry White

Darrell Brown, Perry White
Darrell Brown

Darrell Brown voices Perry White, the editor-in-chief of the Daily Planet aka Clark Kent’s boss. 

Brown is known for Breaking the Law: Bent Coppers, Dispatches, and Murdertown.

Vincent Tong – Steve Lombard

Vincent Tong, Steve Lombard
Vincent Tong

Vincent Tong portrays Steve Lombard, a sports columnist working at the Daily Planet and one of Clark Kent’s allies.

Tong’s past voice roles include The Mandarin from Iron Man: Armored Adventures, Daniel in Voltron Force, and Jestro in Nexo Knights.

Melanie Minichino – Cat Grant

Melanie Minichino, Cat Grant
Melanie Minichino

Melanie Minichino portrays Cat Grant, an entertainment writer for the Daily Planet who has a crush on Clark Kent. 

Minichino’s previous credits include Alto, Spidey and His Amazing Friends, and Scare Package. 

Jake Green – Dr. Anthony Ivo / Parasite

Jake Green, Parasite
Jake Green

Jake Green is the voice of Dr. Anthony Ivo, the creator of the android villain Amazo. However, given his alias, it seems that My Adventures with Superman will feature a version of Ivo who turns into Parasite.

Green is an award-winning actor whose past credits include The Catch, Grey’s Anatomy, and The Boss Baby: Back in Business. 

Laila Berzins – Heat Wave

Laila Berzins, Heat Wave
Laila Berzins

Laila Berzins plays Heat Wave, a DC villain who is originally an antagonist of Barry Allen aka The Flash. It is unknown why Heat Wave heads to Metropolis, but it’s possible that Brainiac recruits her for a mission. 

Berzins’s previous credits include Barbie & Chelsea: The Lost Birthday, Row 19, and The Son of Bigfoot. 

Catherine Taber – Silver Banshee

Catherine Taber, Silver Banshee
Catherine Taber

Catherine Taber portrays Silver Banshee, a frequent Superman villain who uses a sonic scream as her dangerous ability.

Taber is best known for voicing Padme Amidala in Star Wars: The Clone Wars.

André Sogliuzzo – Monsieur Mallah

André Sogliuzzo, Monsieur Mallah
André Sogliuzzo

André Sogliuzzo voices Monsieur Mallah, the gorilla servant of Gorilla Grodd and the Brain.

Sogliuzzo’s past credits include American Dad!, Avatar: The Last Airbender, Jackie Chan Adventures, and Harvey Beaks.

Jesse Inocalla – The Brain

Jesse Inocalla, The Brain
Jesse Inocalla

Jesse Inocalla is the voice of The Brain, a French genius and a criminal mastermind who was a frequent enemy of the Doom Patrol and the Teen Titans from the comics.

Incolla’s previous credits are Killbird, The Dragon Prince, and Love in Full Swing. 

David Errigo Jr. – Mr. Mxyzptlk

David Errigo Jr., Mr. Mxyzptlk
David Errigo Jr.

David Errigo Jr. plays Mr. Mxyzptlk, a character from the fifth dimension who possesses reality-warping prowess. 

Errigo Jr.’s past voice credits include Phineas and Ferb The Movie, Dota: Dragon’s Blood, and Pacific Rim: The Black. 

Chris Parnell – Slade Wilson / Deathstroke

Chris Parnell, Slade Wilson
Chris Parnell

Chris Parnell portrays Slade Wilson aka Deathstroke, one of Batman’s enemies and the world’s greatest assassin. 

Parnell is known for Rick and Morty, Mr. Peabody and Sherman, and Senior Year. 

Jason Marnocha – Jor-El

Jason Marnocha, Jor-El
Jason Marnocha

Jason Marnocha plays Jor-El, the father of Kal-El and Krypton’s leading scientist. 

Marnocha is known for his voice roles in Transformers: War for Cybertron, Metarunner, and Hells.

Lara Lor-Van

Lara Lor-Van, DC
DC

Lara Lol-Van is the mother of Kal-El and the wife of Jor-El. 

Vicki Vale

Vicki Vale, DC
DC

Vicki Vale is a journalist from Gotham City and one of Bruce Wayne’s romantic interests. 

Rough House

Rough House, DC
DC

Rough House is the clone of one of the original Intergang henchmen created by Dabney Donovan. 

Amanda Waller

Amanda Waller, DC
DC

Amanda Waller is the leader of Task Force X, better known as the Suicide Squad. 


My Adventures with Superman is streaming on Max.

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Greta Gerwig gave a shoutout to the writers amid the WGA strike during the Barbie premiere in LA at the Shrine Auditorium. Ahead of the screening, the director of the film also noted that her co-writer Noah Baumbach was not present in support of the guild.

“My co-writer and co-creator, my partner in love and art, Noah Baumbach is not here. He is passionately supporting the fight of the Writers Guild of America,” Gerwig said. “From the first line to the last cut, this movie is his as much as anyone’s. He is a Barbie girl. Nothing in Barbie happened without him, and nothing in Hollywood happens without writers.”

It was the script that drew Margot Robbie to the film and something that she didn’t expect would be approved by the studio.

“The first time I read the Barbie script, my reaction was, ‘Ah! This is so good. What a shame it will never see the light of day,” she told BAFTA earlier this year. “Because they are never going to let us make this movie.”

At the premiere, Robbie gave Gerwig a shoutout saying that she doesn’t “think most of us would’ve been involved if it wasn’t someone like Greta at the helm, but particularly Greta. What she does with her films… she’s so smart, but she’s also can really deliver on the humor and the emotion and we knew we wanted all of that in a Barbie movie. I can’t imagine anyone else doing it but Greta.”

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Greta Gerwig gave a shoutout to the

The Barbie film is a reality but to make Greta Gerwig’s vision come to life, everyone had to be on board. During the red carpet premiere in LA, star Margot Robbie gave a shoutout to the director saying most signed up because of Gerwig herself.

“I don’t think most of us would’ve been involved if it wasn’t someone like Greta at the helm, but particularly Greta,” Robbie said during the pink carpet at the Shrine Auditorium. “What she does with her films… she’s so smart, but she’s also can really deliver on the humor and the emotion and we knew we wanted all of that in a Barbie movie. I can’t imagine anyone else doing it but Greta.”

Alexandra Shipp said “it was really exciting” to work under Gerwig’s direction adding, “I was extremely nervous coming onto this set and working with incredible actors. Greta makes a safe set, she allows you to be honest and articulate and have integrity in specific choices and she helps to elevate that.”

Producer Tom Ackerley talked to Deadline and said that he first got the Barbie script in 2020.

“Margot and I were sitting in the coach and we both read the script… every so often we said, ‘Oh my God, I can’t believe they did that,’ and it just kept getting better and better,” Acklerley said. “And we closed it and we’re like, ‘Well, we’re never going to be able to make that movie.’”

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The Barbie film is a reality but

“No one likes your ass, Judy Gemstone,” a fresh-faced teenage Jesse pointedly reminds his sister near the top of this season’s traditional flashback episode. It’s easy to see why. When we step back and look at Judy from a few miles away, her faults shape into view. Her short temper, sense of entitlement, and fashion sense snap together like a middle-child Lego set. She is Jan Brady by way of The Exorcist, her insecurities manifesting through petty crime, a thirst for revenge, and a total disregard toward the Rogers High School band equipment.

Returning to the year 2000, “Interlude III” takes us on a half-hour tour through the high school experience of Judy and the family’s millennial heel turn. A time of bandana tops and raging hormones, Judy’s adolescence, like it was for many of us, is a prison of insecurity. Her “flakey” advances toward her crushes and outright dismissal of Jesse’s “poor” girlfriend show a young woman on the cusp of realizing that not everything will be handed to her. At the same time, her immense wealth will keep her from ever experiencing the kind of financial violence her family creates—explored in this episode through the Gemstone’s Y2K Survival Buckets that crater Peter’s finances.

That’s not to say Judy’s problems aren’t relatable. Her flashback finds the character at her most human. She may be the princess of the Gemstone kingdom, but at school, she’s a disruptive weirdo. She isn’t a popular Fubu-sporting freak on a leash like her brother, the platonic ideal of a Fred Durst-obsessed turn-of-the-century white boy, nor is her hair as beautiful as Amber’s. Judy’s unpleasantness makes her a pariah in school and at home. Her brothers hate her. Her parents diagnose her with unspecified “minor” mental issues behind her back. With long hair sprinkling dandruff on the desk of her crush Trent, she’s learning in real-time that money can’t prevent the open hand of reality from smacking her across the face every day until the sweet release of death frees her of her torment.

Like the other Gemstones, Judy transforms her rejection into aggressive unearned confidence, one of Jody Hill’s and Danny McBride’s favorite themes. As far as defense mechanisms go, there are worse. It’s done the Gemstones a lot of good. What’s more unearned than claiming their wealth is divine will to the congregants they exploit? It’s all part of God’s plan, which includes murder, blasphemy, and swindling their congregants and their brother-in-law.

When we catch up with Aimee-Leigh and Eli, they’re doing damage control, spinning a failed Y2K doomsday-prepper scheme in another miracle that Eli seems eager to sweep under the rug. Still, the line between past and present comes almost immediately as Eli and Aimee-Leigh’s doomsday infomercial recalls Amber’s “The System.” Though the topics differ, they’re still packaging and selling answers to questions that should be available in that book they’re always hocking. It’s a scam, and they know it. “So who was wrong, God or you?” a journalist asks Eli. Eli offers no answers.

Regarding Christian fundamentalism and American conservatism, people often wonder who is and isn’t a “true believer.” The hard truth is, the distinction doesn’t matter because the results are the same: Voters are tricked, and everyone’s lives are made worse. The Gemstones complicate this notion through Aimee-Leigh and Eli, two halves of the same coin, a marriage between a true-beliving Christian and a grifting revival-tent huckster. And yet, the former is a lens into how corruptible that faith is. She admits to Eli that she never believed the world would end but romanticized it as a return to “a simpler time,” a dream of life without all the things that gave her power.

Keely Marshall
Photo: Jake Giles Netter (HBO)

It’s Aimee-Leigh’s version of Make America Great Again. All it requires is the end of the world, which she knows will not happen. However, no matter how bad or dishonest she feels, she agrees to keep Kayfabe and tells her church that this is what God wants. There are no consequences to her deception; she’s back in power by the episode’s end. Like last season, Aimee-Leigh’s late-stage moralizing rings false, and “Interlude III” director David Gordon Green doesn’t ignore her hypocrisy. As she expresses a modicum of regret over her victims, we see Jesse playing with the church’s latest purchases: The Redeemer, a monster truck purchased by the church for Jesse, who must use in at least one sermon.

Aimee-Leigh can tickle the ivories of her grand piano from the alter of her megachurch, where she and Eli enjoy a sitcom-style resolution about their fraudulence. Still, there’s no repentance or returning the money. It seems their personal feelings don’t matter if they’re earning. When confronted with the failure of the world’s end, the two pull out the shepherd’s crook and lead their disgruntled, protesting congregation back to their TV show church, their lies, and their collection plate. There will be no refunds.

The kindest read of Aimee-Leigh’s justification comes from a real “true believer,” Peter, who invested $25,000 in Y2K survival buckets and turned to crime when his wife refused Eli’s refund. Ironically, he and Aimee-Leigh both want what the other has: Peter wants the wealth to keep his house and send his boys to college; she fetishizes living out of a bucket in the woods. God delivers neither from evil, but at least Aimee-Leigh has money and influence. Peter isn’t so lucky. For him, God has chosen a life of snake handling and insecurity as he attempts to sort through his complicated feelings on the matter in a last-minute sermon. His sermonizing reflects a desire to provide for his family as Eli does, revealing human justification for how he ended up the head of a militia. On one shoulder, he has May-May telling him to reject greed; on the other, he has Karl admitting he wishes he was a Gemstone child.

Peter undergoes the most significant change. “Interlude III” presents him as a feckless provider, an honest preacher, and a man crushed under foolishness and debt. As in The White Lotus, Steve Zahn plays an excellent mascot for the emasculated middle age man. He can handle a snake because he believes what he preaches—the outside world is what confuses him. He believed Eli was also a true believer or, at least, hoped for some of that Gemstone prosperity. Caught between God’s will and the tangible consequences of bankruptcy, Peter turns to the devil and takes a bullet to the cheek for his trouble.

Steve Zahn

Steve Zahn
Photo: Jake Giles Netter (HBO)

Throughout “Interlude III,” May-May reminds us that greed rots the soul, providing empty pleasures that become outward expressions of inner turmoil. That’s why she always chooses Fresca from home over the Gemstone’s sinful Sprite. But her warnings come to fruition through Judy’s cleptomania, anger, and jealousy. Like Peter, she takes what she can’t have, looking at Jesse like he has everything. Judy focuses on the superficial, coveting Amber’s hair and stealing her ring, an outgrowth of the shoplifting ventures she drags “baby-dick” Kelvin on. What Judy can’t have, she steals or destroys. Then, at the very least, someone will pay attention to her.

With B.J. still years away—my kingdom for a Pen15–style B.J.-centric interlude where Tim Baltz plays his younger version—Judy has nothing besides a trust fund and her brothers. But as the show reiterates time and again, family is there for you in ways wealth isn’t. Jesse’s Darkman routine rescues her from rejection in a surprisingly hilarious and heartfelt defense of his sister’s honor. He swoops in with a white ski mask and a fedora and smacks Trent’s little ass red. Spanking Trent isn’t going to solve Judy’s problems. The attack is another example of Jesse’s problem-solving techniques, the same kind he used on the Simkins and Eli’s driver earlier in the season.

No, the Gemstone’s greed is in their blood, and they’ll do whatever they must to keep their fortune. May-May is right. Money created a world where the keepers of God’s message become deceivers. This is the world we live in. A world of Jim Bakkers and Pat Robertsons. A world of Eli and Aimee-Leigh Gemstones. For them, redemption and salvation come in the form of a monster truck aptly named “Redeemer.” The Gemstones roll over their congregation as The Redeemer rolls over Judy’s old toys, leaving nothing but a hollering Gemstone. It doesn’t matter if Aimee-Leigh or Eli are true believers because the result is the same. Buyer beware: All sales on Salvation are final.

Aimee-Leigh’s desire to “return to a simpler time” is a hackneyed conservative pipedream. She “romanticized” living after the end of the world as a way to reconnect with her family, free of the monster trucks and arguments about pubes that plague her day-to-day. What is so romantic about the end of the world? Why do all these people think it will be so easy? Judy Gemstone can barely survive high school.

Stray observations:

  • The casting on this show remains unparalleled. I’m always impressed by Emma Shannon and J. Gaven Wilde, who play Judy and Jesse, respectively, and more or less carry the episode. Both of whom do such convincing and hilarious younger versions of Patterson and McBride. Still, the young Montgomerys, particularly young Chuck, are spot-on. I was so shocked by how much this kid looked like Lukas Haas; I thought some digital trickery might be involved.
  • Both Peter and May-May have a lot of Judy in them. Like Judy, with her brunette mop or hair, May-May is always talking that trash, afflicted by the Gemstone temper, expressing her fears through stubbornness and violence. Poor Peter mostly gets Judy’s insecurity.
  • “Interlude III” provides much context to the first four episodes but also raises questions about the future. Namely, why was Peter’s investment in Eli’s doomsday grift such a secret? Most importantly, May-May attacks Aimee-Leigh in the season opener. Why does she blame her specifically?
  • Judy found Amber’s ring “in the toilet.”
  • The lipstick kisses on the pictures of Russell Crowe and Ryan Phillippe were a beautiful touch.
  • “I couldn’t live without my TRL.”
  • 17-year-old Jesse says the Redeemer is “coke white.”
  • “This what you call a ‘moist maker.”
  • “Face me! I’m trying to have a hardcore, come-to-Jesus talk with you right now, and you’re being very rude with your body positioning to me.”
  • Judy describes her hair as luscious and perfumey.
  • Lord knows Jesse doesn’t want to hear this “He said, She said bullshit” at dinner.
  • Did anyone else spot the return of Sean Whalen as Eli’s driver?
  • I have to send many shouts to costume designer Christina Flannery who transported me back to middle school through the Rogers High Y2K fashion.

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“No one likes your ass, Judy Gemstone,”

Halle Bailey as Ariel in Disney’s live-action ‘The Little Mermaid,’ directed by Rob Marshall. Photo by Giles Keyte. © 2021 Disney Enterprises Inc. All Rights Reserved.

The classic 1989 animated feature gets a live-action adaptation in Disney’s ‘The Little Mermaid’, complete with a three brand-new songs. The film joins the ranks of Disney’s live-action remakes such as ‘Beauty and the Beast’, ‘Aladdin’, and ‘The Lion King’.

The official synopsis for ‘The Little Mermaid’ is below:

“The youngest of King Triton’s daughters, Ariel is a beautiful and spirited young mermaid with a thirst for adventure. Longing to find out more about the world beyond the sea, Ariel visits the surface and falls for the dashing Prince Eric. Following her heart, she makes a deal with the evil sea witch, Ursula, to experience life on land.”

The cast of ‘The Little Mermaid’ includes Halle Bailey (‘Lemonade’) as Ariel, Jonah Hauer-King (‘This Is The Night’) as Prince Eric, Melissa McCarthy (‘Thor: Love and Thunder’) as Ursula, Daveed Diggs (‘DC League of Super Pets’) as Sebastian, Awkwafina (‘Renfield’) as Scuttle, Jacob Tremblay (‘Good Boys’) as Flounder, Javier Bardem (‘Dune’) as King Triton, and Nomi Dumezweni (‘The Same Storm’) as Queen Selina.

Jonah Hauer-King, Jacob Tremblay, Melissa McCarthy, Halle Bailey, Rob Marshall, Javier Bardem and Daveed Diggs attend the UK Premiere Of Disney's 'The Little Mermaid' at Odeon Luxe Leicester Square on May 15, 2023 in London, England.

(L to R) Jonah Hauer-King, Jacob Tremblay, Melissa McCarthy, Halle Bailey, Rob Marshall, Javier Bardem and Daveed Diggs attend the UK Premiere Of Disney’s ‘The Little Mermaid’ at Odeon Luxe Leicester Square on May 15, 2023 in London, England. Photo by StillMoving.Net for Disney.

‘The Little Mermaid premiered at the Dolby Theater in Los Angeles on May 8, 2023. The film was released domestically on May 26, 2023.

Halle Bailey Shines As Ariel

Halle Bailey as Ariel in Disney's live-action 'The Little Mermaid.'

Halle Bailey as Ariel in Disney’s live-action ‘The Little Mermaid.’ Photo by Giles Keyte. © 2023 Disney Enterprises, Inc. All Rights Reserved.

After auditioning hundreds of actors for the role of Ariel, Halle Bailey was cast in the lead role.

Director Rob Marshall recounts her audition,

“I couldn’t believe what I was hearing. I just thought she’s so deeply connected to what she was singing about. It’s so emotional. It’s so beautiful. And I thought, [laugh] Oh my gosh, we’ve been doing this for five minutes. Have we found Ariel? And we had.”

Landing this role was a dream come true for the actress, as Ariel was her favorite Disney princess growing up. Bailey’s powerhouse voice delivered an emotional rendition of ‘A Part Of Your World’ that brought audiences to tears. Her performance was a joy to watch as she captured the essence of Ariel – her curiosity about the human world and her drive to explore undiscovered places.

Melissa McCarthy Is Spellbounding as Ursula

Melissa McCarthy as Ursula in Disney's live-action 'The Little Mermaid.'

Melissa McCarthy as Ursula in Disney’s live-action ‘The Little Mermaid.’ Photo courtesy of Disney. © 2023 Disney Enterprises, Inc. All Rights Reserved.

Ursula the Sea Witch is a fan-favorite Disney Villain, most notable for her song ‘Poor Unfortunate Soul’. McCarthy’s performance as Ursula delighted critics and audience alike, calling her a “scene stealer”. She matched the villain’s attitude, voice, and laughter while using her comedic skills to make the role her own.

During the filming of the movie, McCarthy confessed that her feet never touched the ground which made her performance even more impressive.

“I slid down the clamshell occasionally, on my back, but I was never literally on my feet. We were either up in rigs or, you know, there were all different magical things. You know, if you were diving, it was one rig. If you were spinning, it was another. But no, never on the ground.”

Related Article: ‘The Little Mermaid’ Virtual Press Conference

New Songs For The Live-Action Adaptation

The Little Mermaid (2023)

Halle Bailey as Ariel in Disney’s live-action THE LITTLE MERMAID. Photo courtesy of Disney. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Director Rob Marshal teams up with Award-winning composer Alan Menken, who worked on the original animated movie for the live-action adaptation to create new music for the film. Fan favorite songs such as ‘A Part of Your World’, ‘Under The Sea’, ‘Kiss The Girl’, and ‘Poor Unfortunate Soul’ all made it into the movie. A few new songs were added as well, including ‘For The First Time’, ‘Wild Uncharted Waters’ and ‘The Scuttlebutt’.

‘For The First Time’ is performed by Halle Bailey after she receives her legs from the sea witch Ursula. How does she sing if Ursula has taken her voice? Think of the song as an internal monologue for Ariel. She is seeing the human world for the first time, and the song is paired with a montage of Ariel experiencing brand new things in the Above World.

‘Wild Uncharted Waters’ is sung by Jonah Hauer-King. While Prince Eric didn’t have a song in the original animated feature, the filmmakers felt that the prince needed a moment where he can talk (or sing) about his passion to be out in on the open sea. This ballad helped flush out Eric’s story and character.

Jonah Hauer-King as Prince Eric in Disney's live-action 'The Little Mermaid.'

Jonah Hauer-King as Prince Eric in Disney’s live-action ‘The Little Mermaid.’ Photo by Giles Keyte. © 2023 Disney Enterprises, Inc. All Rights Reserved.

Finally, ‘The Scuttlebutt’ is a song that was performance by both Awkwafina and Daveed Diggs. Written by Lin-Manuel Miranda (‘Hamilton’, ‘Mary Poppins Returns’), this upbeat song and rap is about Scuttle overhearing the gossip of Prince Eric’s plan to propose.

Originally, there was a song for Javier Bardem’s King Triton as well but the song ultimately didn’t make the final cut.

Where Can I Watch ‘The Little Mermaid’?

Jonah Hauer-King as Prince Eric and Halle Bailey as Ariel in Disney's live-action 'The Little Mermaid.'

(L to R) Jonah Hauer-King as Prince Eric and Halle Bailey as Ariel in Disney’s live-action ‘The Little Mermaid.’ Photo courtesy of Disney. © 2023 Disney Enterprises, Inc. All Rights Reserved.

The film was released theatrically in the United States on May 26th, 2023 and is currently playing in theaters. Be sure to check showtimes on Moviefone. below.

Buy Tickets: ‘The Little Mermaid’ Movie Showtimes

Watch the official trailers for ‘The Little Mermaid’ below:

As this a Disney movie, it will end up on the studio’s streamer Disney+ once it’s ready for streaming. In the past, Disney has followed a 90-day theatrical window which means ‘The Little Mermaid’ may arrive on Disney+ by late August or early September.

Where To Watch: ‘The Little Mermaid’ Online

No official word from the studio yet about the DVD/Blu-Ray release, but it should follow the Disney+ debut.

Buy ‘The Little Mermaid’ On Amazon

Halle Bailey as Ariel in Disney's live-action 'The Little Mermaid.'

Halle Bailey as Ariel in Disney’s live-action ‘The Little Mermaid.’ Photo courtesy of Disney. © 2023 Disney Enterprises, Inc. All Rights Reserved.

Other Movies Similar to ‘The Little Mermaid:’

To watch our exclusive interviews with the cast of ‘The Little Mermaid,’ please click on the video player below.

 

 

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Halle Bailey as Ariel in Disney’s live-action

Animated sequel passes ”Guardians of the Galaxy Vol. 3“ in North American grosses

Sony Animation’s “Spider-Man: Across the Spider-Verse” is now the summer box office’s highest-grossing film in North America, passing the domestic total of Disney/Marvel Studios’ “Guardians of the Galaxy Vol. 3” after its sixth weekend in theaters.

“Across the Spider-Verse” was fifth on this weekend’s charts, adding $8 million from theaters in U.S. and Canada to bring its domestic total to $357.6 million. “Guardians of the Galaxy Vol. 3,” which opened in the first weekend of May, has a domestic total of $357.5 million.

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Happiness doesn’t come quickly. Aristotle claimed that as one swallow does not make spring, neither does one good day make someone happy. That would take a lifetime, at least.

Those measures — days, lifetimes, even generations — are put to the test in the pursuit of happiness in two new, fablelike works at the Aix-en-Provence Festival in France: George Benjamin and Martin Crimp’s “Picture a Day Like This,” and Philip Venables and Ted Huffman’s “The Faggots and Their Friends Between Revolutions.”

Yet in either case, time doesn’t guarantee anyone’s success in reaching that elusive goal.

In “Picture” — Benjamin and Crimp’s fourth opera, a taut one-act of masterly craft — the aim is to find the embodiment of happiness. The protagonist, a woman whose infant son has died, is told that if she cuts a button from the sleeve of a happy person’s shirt, her child will be brought back to life. She has until nightfall, and is equipped only with a sheet of paper listing whom to seek.

Crimp’s text, characteristically mysterious and strange, both untethered from reality and peppered with the banality of daily life, is something of a return to the aesthetic his first collaboration with Benjamin, “Into the Little Hill,” a 2006 retelling of the Pied Piper legend. (They went on to create the well-traveled psychosexual thriller “Written on Skin,” as well as a similar follow-up, “Lessons in Love and Violence.”) Here, in what makes for a natural double bill with “Little Hill,” Crimp draws from folk tale, the Alexander Romance, Christianity and Buddhism for a synthesis not unlike Wagner’s grab-bag approach to mythology.

The woman encounters several archetypal personalities on her quest, a journey redolent of the Little Prince among the planets, or Alice in Wonderland. There are a pair of lovers, an erstwhile artisan, a composer and a collector. In a series of scenes, subtly linked in Benjamin’s score but operating as discrete set pieces, these people present as happy but crumble at the slightest scrutiny or self-disclosure. Only Zabelle, a seeming mirror image of the woman, has the wisdom to offer her something more like contentment, and salvation.

In Daniel Jeanneteau and Marie-Christine Soma’s straightforward, intimate production at the Théâtre du Jeu de Paume, each scene fluidly emerges from three walls that wrap around the stage. Marie La Rocca’s unintrusive costumes differentiate the characters, who are played by a small cast in multiple roles: the soprano Beate Mordal, nimbly lyrical as a lover and the composer; the elegant countertenor Cameron Shahbazi as the other lover, weaving darkly sensual lines, and the composer’s assistant; and the baritone John Brancy as the artisan and the collector.

Brancy is given some of Benjamin’s most adventurous vocal writing in the piece, and rises to it with impressive skill — seamless passaggio between the richly resonant depths of his range and a weightless, dreamy falsetto, about three and a half octaves from a low B flat to a soprano E.

Special care appears to have been given, as well, to the soprano Anna Prohaska as Zabelle, her sympathetic stage presence feeding Benjamin’s firm yet humane music for her, and vice versa. In Zabelle’s scene, what is described in the libretto as her garden is rendered in video projections by the artist Hicham Berrada that show a barren aquarium as it blooms with surreal, alien life alluringly lush and menacing.

As the woman, the mezzo-soprano Marianne Crebassa is determined but aching, her resolute manner betrayed by tense vibrato or wide-eyed concern. It’s through her that Benjamin, who also conducted the excellent players of the Mahler Chamber Orchestra in the pit, ties together his episodic score. Her reading the sheet of paper is accompanied by a motif of muted trumpets and a trombone; tubular bells, quietly embedded in each scene’s climax, suggest a clock striking, and time running out.

Her race against time, however, is less important in the end than the woman’s epiphanic encounter with Zabelle. Whether that leads to happiness is impossible to say in a day, and is as ambiguous as Benjamin’s music itself, which despite its immaculate construction is never obviously representational or tidily resolved.

Ambivalent, too, is Venables and Huffman’s show, “The Faggots and Their Friends Between Revolutions,” at the Pavillon Noir. This music theater adaptation of the cult classic Larry Mitchell book of the same name from 1977, with illustrations by Ned Asta, recasts queer history in mythic, utopian terms in opposition to the patriarchy, referred to as “the Men.” (Among the work’s co-commissioners is NYU Skirball in New York, where it will travel next year.) Whereas the ’70s fable ends with uncertainty, Venables and Huffman take the story even further, introducing a cautionary tale of assimilation and offering a vision for life after the revolutions that Mitchell said “will engulf us all.”

The last collaboration between Venables, a composer, and Huffman, a writer and director, was the 2019 opera “Denis & Katya,” a chamber piece based on the true story of two Russian teenagers who a few years earlier had run away from home, hidden in a cabin and died in a shootout with police. Barely more than an hour long, yet smoothly layered and ethically complex, that work was fundamentally about how stories are formed and told.

And how they are performed; “Denis & Katya” existed in a theatrical space, occupied by two singers and four cellists, but also decorated with projections of Venables and Huffman’s correspondence, devoid of hierarchy or operatic tradition. It’s a concept the creators take even further in their new show, an astonishing feat of controlled chaos in which an ensemble of 15 does it all: sings, narrates, dances, plays instruments.

Venables’s score is a delirious stylistic fantasia, with elements of folk, jazzy turns of phrase and Baroque instrumentation. He exercises a restraint similar to Benjamin’s, and is explicit, to comic effect, only when he is at his most prurient: An episode near the beginning recounts “the ritual” of cruising, building toward a climax of “ecstatic communion” and the exchange of something vulgar that can’t be repeated here, before the music quickly subsides to a piano. The Richard Strauss of “Der Rosenkavalier” and “Symphonia Domestica” would be proud.

Throughout the show, no one artist can be easily described, because no one artist has a defined role. This approach to theater-making, in which each performer is essential to the whole, is particularly suited to the spirit of Mitchell’s book and its roots in his time at the Lavender Hill commune for gay men and lesbians in upstate New York.

But some of the performers are given a little brighter spotlight. The musical direction of Yshani Perinpanayagam, an agile instrumentalist, holds the group together in crucial moments. Two of the narrators naturally stand out: Yandass, a dynamo of speech delivery and dance, and Kit Green, a presence at once charismatic, commanding and thoroughly comedic. Venable’s score is at its most patient showcasing the vocal beauty of Deepa Johnny and Katherine Goforth, but also reveals flashes of Collin Shay’s gifted countertenor (not to mention their talent at a keyboard).

That the performers are presented as such — a group of artists sharing Mitchell’s fable rather than embodying it, as they constantly break the fourth wall — also helps to sidestep some of the book’s dated, peak-hippie politics. Venables and Huffman treat the non-Men other as a universal concept that applies, extremely broadly, to anyone oppressed. But a passage that warns against assimilation, of “looking like the Men,” has a narrower focus. Blending in is a distinctly white, gay, bourgeois luxury; not for nothing was Pete Buttigieg the first openly queer person to stand a chance at the American presidency.

Yet that contradiction, a dramaturgical wrinkle in an appropriately wrinkled show, is at the heart of queerness as an unfinished project — one still in search of, if not Mitchell’s utopia, then some kind of post-liberation happiness. And that will take time.

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Happiness doesn’t come quickly. Aristotle claimed that

If you’re a history buff, who likes to sip wine while reading a thick tome of non-fiction, then Julien Couson’s Eastbound Westbound is the perfect film for you. Hosted by wine journalist Jeffrey Davies, the documentary takes us back to 17th-century France, where French ambassador Thomas Jefferson was touring Bordeaux’s vineyards, looking for a way to strengthen Franco-American diplomacy and grow his own vineyard at Monticello. The film opens with Davies being handed a letter from Thomas Jefferson by Prince Robert of Luxembourg. From here, Davies goes on a journey following the travels of Jefferson through Bordeaux and tracing not only the history of Jefferson but the innovations in winemaking over time.

Featured in the documentary are the previously mentioned HRH Prince Robert of Luxembourg (Château Haut-Brion and La Mission Haut-Brion in Pessac-Léognan, and Quintus in Saint-Émilion), Alfred, Justine and Noé Tesseron (Château Pontet-Canet in Pauillac and Pym-Rae in Napa Valley), Claire and Gonzague Lurton (Château Haut-Bages Liberal in Pauillac, Château Dufort-Vivens in Margaux and Acaibo in Sonoma) and finally Denise Adams (Château Fonplégade in Saint-Émilion and Adamus in Napa Valley). Much of the history centers on why Jefferson was so fascinated by French wine and how this passion fueled the diplomatic partnership between the U.S. and France, which aided the defeat of the British during the American Revolution. Then Davies dives really deep into who ultimately turned Jefferson into such a wine connoisseur.

“…who ultimately turned Jefferson into such a wine connoisseur.”

The other focus is on the wine and wineries of France’s Bordeaux region and why it produces the best wine. With such great advancements in winemaking and wine technology, the irony is that many vineyards spotlighted here innovate by reconnecting with the past. With all that science offers, the best wine relies solely on nature to produce the best-tasting grapes, fertile soil, and non-chemical pest management. One of the critical terms bantered about is biodynamic, using old-fashion farming methods such as having horses till the soil and companion crops allowing nature to enhance the grape’s flavor and propagate crops.

As a documentary, Eastbound Westbound has everything you want if you’re a wine fan. The French landscape is gorgeous. The history of the U.S. and France is only elevated with the inclusion of Thomas Jefferson and the region’s connection with California’s Napa Valley. Lastly, there’s wine, a lot of wine. I’ll be honest. I think this documentary will appeal to anyone who takes their wine seriously. Not so much so for the layperson, but as someone who just likes to keep learning, I was in all the way.

For screening information, visit the Eastbound Westbound official website.

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The Ukranian women’s junior softball team has beaten the odds, escaping the war in their home country to play the game they love in Canada.

The team is competing in the Canada Cup, an annual international softball tournament happening at Softball City in Surrey this week.

It’s thanks to Canadian sponsers the team was able to make it for the tournament this week.

Back in May, the team had plans to join the Women’s Softball World Cup but those hopes were dashed when the funds were reallocated to the war effort.

That’s when Canada Cup organizers stepped up to the plate.

“Our host committee got together and said lets do this. This seems bigger than sports,” explains Greg Timm, Chair of the Canada Cup.

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“The Ukrainian government is trying to make their kids in Ukraine believe that there is life after war. So, they’re using this tournament and this trip sponsored by Canadians to give hope to kids that are still kids.”

Timm says within eight days they were able to raise over $60,000 dollars from people all over B.C through funding and a GoFundMe campaign.

“We pulled the heartstrings of people all over British Columbia who donated little bits of money, lots of money, offered goods and services in kind and just showed our overwhelming connection to Ukraine. There are so many people that have Ukrainian roots here,” Timm added.

“These are 17-year-old kids that want to play. They don’t want to be involved in an armed conflict. These kids have moms and dads and neighbors that are off on the frontlines of the war and these kids are trying to still play and still be children.”

On Friday, the teens and their coaching staff arrived in Canada, greeted with signs of support and sponsoring families.

For softball players like Halyna Sochneiva, this is about more than a competition.

“I’m watching the news every day, then I go practice and I forget about everything,” Sochneiva explains.

“I’m doing my thing, and this has helped me get through this.”

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Team manager Vasyl Kysilis is thankful for all the support from Canadians who made it possible for them to come and says it’s now time to shift focus to the field.

“Our army fights over there, so we are fighting for them,” Kysilis shared.

“We will show Ukraine that we are a strong team and that we can do anything.”

The team’s first game is Monday evening.

There will be a designated Ukraine Day celebration on Tuesday.

You can see the full schedule and buy tickets on the Canada Cup website.

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

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Image Credit: Bravo

Kim Zolciak finally made her return to The Real Housewives of Atlanta on July 9, and what she said during her short guest stint was pretty interesting. Five years after last appearing on the show as a “friend” of the housewives, Kim attended a group dinner with original cast members Shereé Whitfield, DeShawn Snow, and Lisa Wu, and boasted about her 11-year marriage to Kroy Biermann. Normally, we’d just think that was sweet, but this scene was filmed not too long before she filed for divorce from the former NFL linebacker. So was she just hiding her real issues at home or was the split just all for publicity?

During their sit-down dinner, Kim told Shereé that she thinks about her all the time because Shereé introduced her to Kroy, who she referred to as “tight a**”, at a charity event in May 2010. Kim said, “You want to know what’s really funny? He said before I ever saw him, when I came up to that room to see you, he saw me from afar and said, ‘I just knew [you were the one] when I saw you.’”

After everyone responded with a collective “aww,” DeShawn asked Kim how they’re doing, and she said, “We’re still married, it’s 11 years, so we’re doing great. So whatever I did, I texted the right person.” But Lisa then changed the subject and asked Kim whether she’s really losing her house, as it was reported online. However, Kim said that wasn’t true. “[The claim was on] a blog on Instagram. It’s not TMZ. It’s not PEOPLE magazine. Do you think I’m going to foreclose on my multi-million dollar house for $200,000?”

The foreclosure new, which was eventually reported by PEOPLE and TMZ (sorry, Kim), emerged in mid-to-late February, so this conversation probably happened around two months before Kim and Kroy separated in late April. As we previously reported, Kim filed for divorce on May 8, when she listed their separation date as April 30 and said their marriage was “irretrievably broken with no hope of reconciliation” in her filing. At the time, she was seeking primary physical custody and joint legal custody of her and Kroy’s four children, Kroy Jr., 11, Kash, 10, and 9-year-old twins Kaia and Kane. She also wanted spousal support and to legally restore her maiden name.

Kim Zolciak and Kroy Biermann (Curtis Means/Ace Pictures/Shutterstock)

Throughout the weeks that followed their split, things got pretty nasty. Kroy had filed paperwork to try to get sole custody of their four children. He also accused Kim of having a “compulsion” for gambling, and it got in the way of her parenting, while leaving the family “financially devastated”. He wanted her to undergo a psychological evaluation, but her attorney fired back against Kroy’s claims in a statement, accusing him of “emotional and mental abuse,” received by HollywoodLife. “It’s really sad the way Kroy is causing our divorce to play out in the media like this because it could have a profound effect on our children in the long run. To continuously spread lies in an attempt to paint Kim as an unfit mother for his own gain is harmful and incredibly misleading regarding Kim’s efforts to raise her children.”

Obviously, things got pretty contentious, but on July 7, Kim filed paperwork to dismiss her divorce from Kroy. Neither party has released a statement since, but maybe things are “great” again?

New episodes of The Real Housewives of Atlanta air Sundays at 8pm on Bravo.

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View gallery Image Credit: Bravo Kim Zolciak finally made

Bird Box: Barcelona, the NFL docuseries Quarterback, the third season of Sweet Magnolias and Jamie Foxx starrer They Cloned Tyrone are among the new projects debuting on Netflix in July

Bird Box: Barcelona is a Spanish-language spinoff of the 2018 Sandra Bullock-starring thriller. The film, written and directed by Alex and David Pastor, picks up after a mysterious force destroys Earth’s population and follows survivors as they seek to escape visible threats. The movie, which stars Mario Casas and Barbarian breakout Georgina Campbell, is meant to be the first of a series of films to expand the Bird Box universe.

The eight-episode Quarterback, Netflix’s first partnership with the NFL and produced by Peyton Manning’s Omaha Productions, features unprecedented access to Patrick Mahomes, Kirk Cousins and Marcus Mariota both on and off the field during the 2022 season as the NFL allowed the quarterbacks to be mic’d up for every single game, with the series taking viewers inside players’ homes with their families and behind the scenes of big moments.

The third season of Sweet Magnolias drops on July 20, as childhood best friends Maddie (JoAnna Garcia Swisher), Helen (Heather Headley) and Dana Sue (Brooke Elliott) deal with new challenges in Serenity, South Carolina.

While fans wait for more information about the “medical complication” Jamie Foxx experienced while filming the Netflix movie Back in Action, Foxx will appear in yet another Netflix film, They Cloned Tyrone, alongside John Boyega and Teyonah Parris, as they investigate a government conspiracy involving a cloning operation. The film, the directorial debut of Creed 2 writer Juel Taylor, who co-wrote the screenplay with Tony Rettenmaier, will start streaming on July 21.

At the end of the month, Ellie Kemper and Luke Grimes star in the film version of Katherine Center’s novel Happiness for Beginners, in which Kemper’s Helen embarks on an “Adventure of a Lifetime” backcountry survival course and ends up finding more than herself in the movie written and directed by Vicky Wight.

Other films hitting Netflix this month include Puss in Boots: The Last Wish, Ride Along and Big Eyes, and the streamer already added Bridesmaids, four Karate Kid films, Liar Liar, the 2005 version of Pride & Prejudice, Ray, all three Rush Hour films, The Squid and the Whale, Titanic and The Out-Laws.

Additional series streaming this month include the Unknown four-part docuseries about adventure and exploration in uncharted territories, Too Hot to Handle season five and the second part of The Witcher‘s third season.

The streamer earlier this month added all five seasons of HBO’s Insecure and the first part of season two of The Lincoln Lawyer.

Missed what came to Netflix last month? Check out the June 2023 additions here.

Read on for the complete list of titles hitting Netflix this July.

July 1
The Days
Bridesmaids
The Huntsman: Winter’s War
Jumanji
(1995)
The Karate Kid
(2010)
The Karate Kid
(1984)
The Karate Kid Part II
The Karate Kid Part III
Kick-Ass
Liar Liar
One Piece: Thriller Bark
One Piece: TV Original 2
Pride & Prejudice
(2005)
Prom Night
Ray
Rush Hour
Rush Hour 2
Rush Hour 3
Snow White & the Huntsman
The Squid and the Whale
Star Trek
Star Trek Into Darkness
The Sweetest Thing
Titanic
Uncle Buck
Warm Bodies

July 3
Insecure
Little Angel
: Volume 3
Unknown: The Lost Pyramid

July 4
The King Who Never Was
Tom Segura: Sledgehammer

July 5
Back to 15: Season 2
My Happy Marriage
WHAM!

July 6
Deep Fake Love
Gold Brick
The Lincoln Lawyer
: Season 2 Part 1
Wake Up, Carlo!

July 7
Fatal Seduction
Hack My Home
The Out-Laws
Seasons

July 10
Captain Underpants: The First Epic Movie
StoryBots: Answer Time:
Season 2
Unknown: Killer Robots

July 11
Nineteen to Twenty

July 12
Mr. Car and the Knights Templar
Quarterback
Record of Ragnarok
: Season 2: Episodes 11-15
Sugar Rush: The Baking Point

July 13
Burn the House Down
Devil’s Advocate
Puss in Boots: The Last Wish
Sonic Prime
: Season 2
Survival of the Thickest

July 14
The Beauty Queen of Jerusalem: Season 2
Bird Box Barcelona
Five Star Chef
Love Tactics 2
Too Hot to Handle
: Season 5

July 15
Country Queen
Morphle 3D
: Season 1
My Little Pony: Tell Your Tale: Season 1

July 16
Ride Along

July 17
Unknown: Cave of Bones

July 19
The (Almost) Legends
The Deepest Breath

July 20
Supa Team 4
Sweet Magnolias
: Season 3

July 21
Extreme Makeover: Home Edition
They Cloned Tyrone

July 24
Big Eyes
Dew Drop Diaries
Unknown: Cosmic Time Machine

July 25
Mark Normand: Soup to Nuts
Sintonia
: Season 4

July 26
Baki Hanma: Season 2: The Tale of Pickle & The Pickle War Saga
The Great British Baking Show
: The Professionals: Season 7
Missing: The Lucie Blackman Case

July 27
Happiness For Beginners
The Lady of Silence: The Mataviejitas Murders
Paradise
Today We’ll Talk About That Day
The Witcher
: Season 3 Volume 2

July 28
Captain Fall
D.P.
: Season 2
Hidden Strike
How to Become a Cult Leader
Miraculous: Ladybug & Cat Noir, The Movie

A Perfect Story
The Tailor
: Season 2

July 29
The Uncanny Counter: Season 2

July 31
Bastard‼ -Heavy Metal, Dark Fantasy-: Season 2

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Bird Box: Barcelona, the NFL docuseries Quarterback,

EXCLUSIVE: The current opportunities for film and series development in Central and Eastern Europe was one of the key topics discussed during the first day of the Eastern Promises industry program mounted at this year’s Karlovy Vary International Film Festival.

Defining development and its importance in the context of production, Vratislav Šlajer, producer and Chairman of the Board Directors, Audiovisual Producers’ Association, said: “Technically, development ends with the first shooting day. Scriptwriting is a big part of this process. The script is a key part of any audiovisual project. But also further development is about how you work with a script.”

He added: “When you’re still writing, you have to include other director’s and producer’s views. Development is the beginning of a project until you’re sure what you’re making.”

In the panel hosted by Deadline as part of the Industry Days program, Šlajer was joined by Łukasz Kłuskiewicz, Director, Film Licensing and Co-Productions at Netflix, Klára Brachtlová, Chief External Affairs Officer at CME (VOYO), Radim Špaček, Vice-chairman of the Association of Czech Audiovisual Directors and Screenwriters (ARAS), Přemysl Martinek, consultant for the Czech Film Fund, and Petr Dvořák, CEO Vodafone Czech Republic, who made a brief cameo.

“I’m very pleased that we all agree development is the most crucial and important phase of the project process,” Špaček added. “It’s the riskiest part of the process, but it also receives the lowest amount of finance.”

Špaček frequently discussed the lack of funding within the development process and what he described as the tough situation writers find themselves in when trying to fund their lives and continue writing.

“It’s really difficult sometimes to get paid,” he said. “That’s why for authors, it’s very important that state funds like the Czech Film Fund are offering funds. This is important because if the author receives payment they can apply themselves and really work on a project.”

While money may be lagging in the development process, all five panelists agreed that the amount of money within the industry has increased. Kłuskiewicz, who runs film licensing and co-productions in the region for Netflix, told the audience that the company’s ideas around investment begin solely with what it’s “members like to watch.”

“Czechs, for example, love local content, and this is why companies like Netflix want to invest more because we can see growing relevance and demand for local content,” Kłuskiewicz said.

Netflix opened an operational base in Warsaw, Poland, in 2022 but has been acquiring and licensing locally in Eastern and Central Europe since 2019. During that time, Kłuskiewicz said the company has acquired over 260 films through licensing.

“We are getting closer and closer to commissioning our first original, and we’re very optimistic,” he added.

While Kłuskiewicz’s dedication to investing in the region seemed to instill confidence in the local crowd, Špaček questioned the increased presence of commercial money. The challenge for creators, he said, would be ensuring that more investment from big companies like Netflix does not squeeze the market for artists who want to make strong authored, arthouse content, which he said is rarely picked up by commercial companies.

Šlajer, however, argued that the key goal for artists and producers of arthouse content is to find a business model that can find and support their audience.

“There are different types of platforms like KVIFFTV in the Czech Republic or MUBI internationally that actually invest in arthouse. They have an arthouse audience and business model,” Šlajer said. “Go where your audience is, and if Netflix or VOYO find an audience for arthouse films they will invest in it. But the question is whether that is their business model. What’s the target audience?

Check out the full video from the panel above.

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EXCLUSIVE: The current opportunities for film and

More than once, Linda Ronstadt has recounted the blunt welcome she received when she left her sleepy hometown of Tucson, Arizona for Los Angeles in 1964. “Honey, in this town, there are four sexes: women, men, homosexuals, and girl singers,” Judy Henske, a singer-songwriter and an employee at a folkie coffee shop, reportedly advised the new arrival. It would be Ronstadt’s introduction to the rest of her life.

To be a girl singer, as indicated by rock’n’roll memoirs by men and women alike, was often to be shunted aside and leered at, pitted against one’s peers, at the mercy of the guys in charge. Even Ronstadt felt the hot flush of competition when she first saw Emmylou Harris performing at Los Angeles’ Troubadour in the early 1970s. But Ronstadt realized that she could be jealous, or she could make a friend. When the pair finally met in 1973—while on tour with Gram Parsons and Neil Young, respectively—a lifetime friendship sparked from their shared love for another girl singer: Dolly Parton.

It would take another 14 years for Harris, Ronstadt, and Parton to release Trio, their first full-length album together. Their mutual admiration had blossomed when Ronstadt and Harris crossed paths with Parton in Nashville in the early 1970s, and they’d started singing together occasionally in the back half of the decade. Plans for a proper LP, however, got tangled in the contractual obligations of their escalating stardom and ever-expanding professional lives. Making Trio allowed each of them a long-overdue opportunity to assume a new identity in an industry that had long tried to pigeonhole them.

Trio opens with “The Pain of Loving You,” a song that Parton co-wrote with country singer and television presenter Porter Wagoner. Wagoner’s hit TV show had provided the charismatic young Parton with an early break in 1967, and though she’d only signed a five-year contract, she stayed on for seven. As a gracious parting gesture, she wrote “I Will Always Love You” and dedicated it to him. In 1979, Wagoner returned the favor with a $3 million breach of contract suit, claiming that his tutelage entitled him to a cut of Parton’s solo earnings. The dramatic falling-out between an established country star and his one-time protégée was big news—big enough that it was picked up in Billboard and on the United Press newswire. Harris and Ronstadt would have been aware of it all, even in their Los Angeles singer-songwriter enclave.

Meanwhile, their own career trials had only strengthened their bond. For decades, Ronstadt kept the yellow rose that Harris presented to her after an exceptionally nasty encounter with one of Neil Young’s bandmates in 1973; a few months later, she invited Harris out for an extended convalescence in California as she grieved the death of her former singing partner, Gram Parsons. Through difficult tours and indiscriminate egos, the friends extended comfort to one another. They, too, had butted up against powerful men in their industry who sought to fuck them one way or another.

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More than once, Linda Ronstadt has recounted

When Patrick Wilson was first approached about reprising the role of Josh Lambert — the patriarch of a family terrorized by ghouls in James Wan’s haunted-house chiller, “Insidious” (2010) — he was unenthusiastic.

“Another sequel? I thought, ‘Oh boy, what new ground is there to even cover?’ I’m good. I’ve got my other horror franchise,” Wilson said.

The “other” franchise refers to “The Conjuring,” also conceived by Wan, which began as a 2013 paranormal horror tale that led to a separate universe of sequels and prequels in which Wilson plays one half of a team of married demonologists. Between “The Conjuring” and the first two “Insidious” movies, Wilson has established himself as a bona fide scream king. Still, he’s a classically trained actor who has starred in big-budget superhero movies (“Watchmen,” “Aquaman”), indie dramas (“Little Children”) and musical theater productions (“Oklahoma!”). The prospect of a new “Insidious” didn’t seem all that exciting.

Then, Wilson was asked if he’d consider directing it, too. That got his attention.

“I’d been trying to direct a movie since 2015,” Wilson told me over coffee at a West Village bistro. “TV didn’t appeal to me. And I’m not the kind of guy who wants to make a tiny indie that nobody sees just to prove that I can do it. I want my movie to play well in theaters, so to have this half-a-billion-dollar franchise supported by a studio come my way — that’s rare for a first-time director.”

“Insidious: The Red Door,” the fifth movie to fly under the “Insidious” banner, wisely skips over the lackluster third and fourth installments and returns to the events of “Insidious: Chapter 2” (2013). After nearly ax-murdering his entire family, Jack Torrance-style, Josh retakes control of his body from a psycho-biddy demon, and — with the help of a mind-scrubbing hypnotist — completely represses all memory of his possession. The Lamberts are free and the credits roll.

“No offense, but that’s not how you deal with a problem,” Wilson chuckled.

“The Red Door” confronts the trauma of that earlier film from the perspective of a father-son relationship. Ten years later, Josh has separated from his wife, Renai (Rose Byrne), and is the quintessential absent dad, haunted by a past he can’t articulate. In “Insidious,” it’s revealed that the couple’s eldest child, Dalton (Ty Simpkins), has inherited his father’s ability to astral project, which renders him vulnerable to the ghosts hanging out in a netherworld called the Further. Dalton, too, had his memory erased. Now, the prickly teenager rejects his father, though he’s stuck with him on the drive to his first year of art school.

I asked Wilson if his sons — one is heading to college soon — send him curt one-word texts. “Nah, we have a great relationship,” said Wilson, who since 2005 has been married to the actress Dagmara Dominczyk (Karolina in “Succession”).

Wilson accepted the offer to direct “The Red Door” under the condition that it would “make sense with my life.” In practical terms, this meant shooting near his home in Montclair, N.J. (“It was almost like a regular job, coming back to the family after work,” he said.) But he was also keen for his debut to reflect him as a person.

Before shooting the Roland Emmerich disaster flick “Moonfall” (2022) and the forthcoming “Aquaman” sequel, Wilson sat down with the screenwriter Scott Teems (“Halloween Kills”) and, essentially, bared his soul. Teems took these raw materials and shaped them into a story about inherited trauma and artistic vulnerability — with jump scares and creepy-crawlies, of course.

The film marks a return to form for the “Insidious” franchise, recapturing the original’s pretentiousless thrills and fun-house charms, approaching the Lamberts’ grim history with the silliness and sincerity of throwback horror from the ’80s or ’90s.

“The best kind of horror movie makes you feel unsafe,” Michael Koresky, the co-founder of the Museum of Moving Image’s house publication, Reverse Shot, wrote in an email. Koresky is a fan of the “Insidious” movies, explaining that watching the original was like “a breath of fresh air amid the fetid field of reactionary early-21st-century horror, which had become reliant on gruesome torture. Every time a face appeared after a shock cut, I remember feeling played like a piano — thrillingly so.”

Wilson wasn’t an especially big fan of the genre when he first signed on to “Insidious.” He considers himself a generalist. “I grew up with Indiana Jones and ‘Star Wars,’” said Wilson, who just turned 50, adding that his taste in film was shaped by outings to the multiplexes around Tampa Bay, Fla., where he was raised with his two older brothers.

“I was into horror movies that transcended genre — ‘Salem’s Lot,’ ‘Jaws.’” His eyes widened: “‘Poltergeist.’ I remember when I was a kid, our house was robbed. Absolutely no connection to the ‘Poltergeist,’ but the way my brain processed that event, the terror I felt when we got home and realized our house had been invaded, my memory embedded the two things together.”

For “The Red Door,” Wilson knew he wanted Dalton to be an artist, invoking the horror archetype of the gloomy kid drawing morbid images in crayon — only Dalton, at 18, has decided to make a career out of it. “Going to any kind of arts school is spiritually taxing,” Wilson said, recalling his years in Carnegie Mellon University’s acting conservatory. Under the tutelage of a demanding professor (Hiam Abbass from “Succession”), Dalton is encouraged to dig into his inner life to fuel his work, which teases the Further’s fiends out of hiding.

Wilson routinely travels to Carnegie Mellon in Pittsburgh to lead acting workshops. “I’ve always been comfortable with instructing others,” he said, explaining that he may not be a “film school guy” but he does know a thing or two about how the camera creates images.

“I’m always conscious of my relationship to the camera when I act — what is the lens size? How is it moving? I made my actors watch themselves because what you feel and what the audience sees can be different things.”

Josh, terrified that he’s perpetuating the mistakes of his own father, tries desperately to find the cause for his instability. In one eerie sequence, he gets an M.R.I. When he’s in the machine, the lights cut off, and the camera approximates the patient’s woozy point of view — total vulnerability, meaning something’s just around the corner.

Set primarily on a college campus, the film also pokes fun at the fragility of men who try incredibly hard to seem, well, masculine — like the toxic fraternity brothers floating in Dalton’s orbit. Wilson’s own statuesque appearance — I told him I still think of him as the “prom king,” the name given to him by the lusty neighborhood mothers in “Little Children” — might seem to group him with this lot. With “The Red Door,” Wilson made a point to engage with the cultural conversation about masculinity. Being a father to two sons means he’s constantly thinking about what it means to promote a healthy identity for young men.

“Men have a hard time sharing how they feel, me included,” Ty Simpkins wrote in an email. He and Wilson have something of a longstanding father-son bond: Simpkins’s first role was as the prom king’s jester-hat-wearing toddler in “Little Children,” and Wilson “even shared a beer with me on my 21st birthday,” Simpkins added.

Wilson perked up when I asked him about his love of rock music, another personal touch he weaves into his directing debut. Listen closely and you’ll hear him singing over the end credits to the heavy-metal stylings of the Swedish band Ghost. Wilson seemed giddy to join the small ranks of directors who sing songs in their own movies. He cited John Carpenter and “Big Trouble in Little China” as an inspiration.

When Mike Nichols cast him in “Angels in America,” Wilson said the director talked to him about Paul Newman’s career. “Being a movie star is hard, he told me. You go where it takes you. To enjoy doing one of the opportunities given to you — that’s a privilege.”

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When Patrick Wilson was first approached about

Where does the MCU stand in terms of continuing Oscar Isaac’s and the rest of his castmates’ run on Disney+ in Season 2 of Marvel Studios’ series Moon Knight?

Isaac helped to bring one of Marvel Studios’ first true looks into the supernatural side of the MCU as Moon Knight was finally introduced – a former mercenary with Dissociative Identity Disorder who finds himself in service of the Moon God, Khonshu.

Ranking fairly well in terms of viewership amongst its other MCU counterparts released on Disney+, Marc Spector and his alters now look to work themselves more fully in the franchise after debuting in a largely standalone first season.

Moon Knight Season 2 Release: Will It Come Out?

Marvel Studios

Officially, Marvel Studios hasn’t confirmed that Moon Knight will continue with a Season 2.

However, that doesn’t count out rumors indicating something more favorable for fans.

A video shared in September 2022 showed star Oscar Isaac and director Mohamed Diab teasing that Season 2 was in motion when asked why the two were in Cairo, Egypt:

Q: “The question on everyone’s mind: is there a Season 2?”

Diab: “Of ‘Moon Knight?'”

Isaac: “Why else would we be in Cairo?”

Isaac also discussed the chances of Season 2 happening in October 2022 with ComicBook.com, commenting on “some specific conversations” that have taken place over where his character will go in the future:

“There have been some specific conversations. They were pleasant. The spilling of the details it that there’s no details. We don’t know [if there will be a second season], but we’re talking about it.”

Should Moon Knight officially get a second season, it will most likely be at least a couple of years until the series returns to Disney+ considering how jam-packed the upcoming schedule is.

The next two years are set to bring Loki (2023), Echo (2023), Daredevil: Born Again (2024), Agatha: Coven of Chaos, and Ironheart, while other series like Wonder Man could also be in line to debut in that timeframe as well.

With that considered, Moon Knight Season 2 almost certainly won’t make it onto Disney+ until at least late 2024 or even into 2025.

But there’s one more movie to consider when looking ahead to this next season of Moon Knight – 2026’s Avengers: The Kang Dynasty.

One rumor indicated that Season 2 of Moon Knight was set to come at some point before Avengers 5, which now gives the series almost three full years to return after Avengers 5 was delayed until May 1, 2026.

Moon Knight Season 2 Cast Speculation: Who Will Return?

Ethan Hawke, Oscar Isaac
Marvel Studios

Moon Knight brought a relatively trimmed-down cast than most of its MCU counterparts in Phase 4, with only a few names that should be expected to come back for a potential Season 2.

Oscar Isaac – Marc Spector/Steven Grant/Jake Lockley

Hired on as the titular hero in late 2020, Oscar Isaac would unquestionably be back to play not only his primary character Marc Spector but also Steven Grant, one of the other alters inside his head. He would also provide his talents for both of their powered-up forms, Moon Knight and Mr. Knight.

Additionally, he’ll embody the Spanish-speaking Jake Lockley following the shocking reveal in the mid-credits scene from Season 1 Episode 6, in which the character seemingly shot Arthur Harrow.

Ethan Hawke – Arthur Harrow

Speaking of Harrow, there’s still a slight chance that Ethan Hawke will be back for Season 2 even though he was shot by Jake Lockley. Of course, because Harrow was shot off-camera, many are taking that as a sign that he’s still alive and kicking for another round of action.

And while Hawke himself isn’t necessarily sure if or when he’ll come back to the MCU, he did leave the door open for more Arthur Harrow stories should the right opportunity arise.

May Calamawy – Layla El-Faouly

After powering up into the hero known as the Scarlet Scarab, it would be a shock not to see May Calamawy’s Layla El-Faouly come back to continue her evolution should Season 2 be greenlit.

Considering her relationship with Marc Spector is still a little rocky, and taking into account her new bond with the hippo goddess Taweret, her story has plenty more chapters to add as the Scarlet Scarab takes her place in the MCU.

F. Murray Abraham (?) – Khonshu

The next season of Moon Knight will surely bring back the Moon God Khonshu as his relationship with Marc Specter and his alters grows, but the question is whether he will still be played by F. Murray Abraham.

Abraham was accused by at least two people on the set of Mythic Quest of sexual misconduct and subsequently fired from the cast, although no further information on the incidents has become available.

Who is Moon Knight’s 3rd Personality?

Oscar Isaac, Moon Knight
Marvel Studios

As mentioned earlier, the next season of Moon Knight will unquestionably bring back Marc Spector’s third alter, Jake Lockley, who first came to prominence in the post-credits scene from Episode 6 of Season 1.

Lockley was teased a dozen times throughout the series, with his presence only confirmed to be in play when he shoots Arthur Harrow in the limousine.

And now, with fans left hanging on that intense moment as the character said, “Today is your day to lose” in Spanish to Harrow, the big question remaining is how he will be a part of the next set of episodes featuring Moon Knight.

It’s expected that Lockley will play a much bigger role moving forward, especially after both Marc and Steven found themselves realizing there were times that neither of them was in control of Marc’s body.

There’s also the not-so-hidden fact that Jake Lockley is still in cahoots with Khonshu even though Marc and Steven were let out of their agreement, which will unquestionably bring them back into the superhero antics before too long.

While the specifics are still unclear on what role Lockley will play in Season 2, it’s clear that he’ll bring a unique kind of mayhem into the equation thanks to his sheer brutality and his unique intensity.

Who Is the Villain in Moon Knight Season 2?

Kang, Moon Knight
Marvel Studios

While it’s difficult to nail down who the villain of Moon Knight Season 2 will be, there are a couple of potential options that could work well for the story Marvel looks to tell.

One rumor indicates that Rama-Tut, a Variant of Kang the Conqueror, could make his presence felt as the character is a version of Kang that became an Egyptian pharaoh thousands of years in the past.

That would connect this show even more fully with the events of the Multiverse Saga, allowing a new Kang Variant to emerge while also finally bringing Moon Knight into the larger narrative for the first time.

There’s also the opportunity for Marc Spector to fight one of his own alters, Jake Lockley, after his introduction in Episode 6 set the hero up for a dark crossroad moment ahead of him.

And while he may not end up being a villain the entire time due to his deep connection with Marc, Jake could surely give his core host personality plenty of problems emotionally throughout the next six episodes.

What Will Happen in Moon Knight Season 2?

Oscar Isaac, Werewolf by Night, Moon Knight
Marvel Studios

After Moon Knight Season 1 saw Marc Spector’s journey towards becoming Moon Knight and learning how to work with his alter, Steven Grant, the big question now is what could happen in Season 2.

With the crocodile goddess Ammit still inside of Arthur Harrow, Marc will likely have to find himself face-to-face with the Season 1 big bad at some point, especially looking at the fact that Jake Lockley shot Harrow in the limousine. 

Director Mohamed Diab even made a point to clarify that he isn’t sure if Harrow is dead or not after that episode.

Hawke himself also admitted that his first MCU season of TV could potentially become “the origin story of a larger thing,” further teasing that Harrow is far from done making waves in the MCU.

On top of those teases, many are eagerly awaiting Marc Spector’s first interaction with Werewolf by Night, with Moon Knight’s Marvel Comics origin story actually coming opposite Jack Russell as the two did battle with one another.

And while Michael Giacchino, the director of the character’s Disney+ Special Presentation, noted that there were “no immediate plans” to have the two interact, it seems only right that they would be on a path to a meeting at some point or another.

Will Moon Knight be in Avengers 5?

Kang, Moon Knight, Avengers
Marvel Studios

As mentioned previously, rumors indicate that Rama-Tut is set to be a major part of Moon Knight Season 2, which could lead to Oscar Isaac being part of the expectedly massive cast coming in Avengers: The Kang Dynasty.

Additionally, rumors have hinted that Marvel wants to bring Moon Knight Season 2 to Disney+ before Avengers 5 hits theaters, which could suggest that Marc Spector will play an integral role in the story for the Avengers’ next team-up outing.

At some point, even with how disconnected Moon Knight Season 1 was from the MCU, it appears inevitable that Marc Spector will make his way into the greater story and get those interactions with other MCU heroes that fans want to see.

The only question now is when and how that will come to fruition.


Moon Knight Season 1 is available to stream on Disney+.

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The 1960s were a pivotal time in cinema and society, with the popularity of counter culture and the emergence of psychology as an inquisitive medium of understanding human behaviour. As a result, the era had films that explored human experiments with psychedelics and deviance. The genres of horror, satire and psychological thrillers defined the era as cinema was collectively exploring the limitations of society and the human mind.

Several of these films became immediate hits at the time, while others were considered cult classics much later. Each of these films added their own spin to genres and human motivations as they elevated the complexity of filmmaking in the 1960s.

10 Carnival of Souls

Herts-Lion International

Carnival of Souls is a psychological horror that is a guerrilla filmmaking wonder directed by Herk Harvey. The film is loosely adapted from the French short film An Occurence at Own Creek Bridge and had the visual aesthetic of filmmakers such as Ingmar Bergman and Jean Cocteau. The film follows a woman who survives a car accident and is traumatized by the event. She moves to Utah and joins a church as an organist but is haunted by a mysterious man who might have something to do with her past. She finds herself in a deserted carnival, where lies the answer to the eerie events of her life. The film is known for the unsettling atmosphere it creates with its cinematography and an organ score by Gene Moore. The film has gained a cult status over time and is a regular choice in several Halloween themed festivals. Through its story, the film tells a bigger story about post-traumatic stress and the vortex of loneliness.

Related: 10 Gangster Movies That Represent the 1920s

9 Seconds

Seconds 1966
Paramount Pictures

Seconds blends several genres of psychological horror and science fiction in telling a story of a man obsessed with forming a new identity. The film has been influential in the artistry of filmmakers such as Bong Joon Ho and Park Chan Wook for telling one of the most unconventional story with a thought-provoking premise.

Arthur, played by John Randolph, is the protagonist of the film who finds out about a company capable of giving a second life with plastic surgery and a new identity. As he opts for a new self as an artist in Malibu, Arthur realizes he might have made a big mistake.

The film is known for being an immersive experience with its harrowing cinematography, which disorients Arthur from his reality. The film has had a long-lasting effect on several people, including musician Brian Wilson from the Beach Boys, who was traumatized by it and avoided going to the theater for a long time after watching the film.

8 Spider Baby

The cast of Spider Baby
American General Pictures

Spider Baby is introduced audience to the wonders of Schlock cinema. This genre of filmmaking mostly revolves around a horror comedy film produced with a very small budget with bizarre plot lines, kitschy visual effects and impossible comedy gags. The film follows three siblings with a rare mental disorder that that reverses their mental age. As a result, the siblings are viewed as immature and maladjusted to their environment. The trio have their dirty secrets, which they keep from the world, but when their relatives arrive to their hearts, several skeletons come out of the closet. The film was directed by Jack Hill, and has received cult status over time for its daring obscurity.

7 The Trip

The Trip
American International Pictures

The aptly titled The Trip is a psychedelic film written by actor Jack Nicholson and directed by Roger Corman. The film follows a divorced man who goes on a life altering journey with LSD to come out of his misery. His indulgence leads to hallucinations that haunt him, as well as disorienting his consciousness into a new way of life. The film was released at the time when the counter culture was promoting the use of psychedelics, and it became a popular part of the movement. The film was also released during the Summer of Love, which was a social gathering of hippies in the summer of 1967.

The film remains historic in many ways and is known for inducing the psychedelic effect on-screen, which was experimental during the time.

6 Spirits of the Dead

Spirits of the Dead
Les Films Marceau- Cocinor
Produzioni Europee Associati

Spirits of the Dead is a horror anthology which includes three adaptations from Edgar Allan Poe’s works, directed by Roger Vadim, Louis Malle and Federico Fellini. The film was a French-Italian collaboration where each of the three directors give their own artistic take on the chosen horror stories. Vladim directs Metzengerstein where a countess played by Jane Fonda kills a man and his animals after being shunned by a horseman. The second story, William Wilson, is directed by Malle where a man fights his deceptive doppelgänger and regrets it. The final short film is directed by Federico Fellini, where an alcoholic actor copes with the darkness of his addiction in Toby Dammit. Fellini’s entry is regarded as the best of the three and continues to be regarded as one of the best adaptation of Poe’s works.

5 The Loved One

The Loved One
Metro-Goldwyn-Mayer

The Loved One is a black satirical comedy starring a who’s who of 1960s Hollywood, based on the satirical novel The Loved One: An Anglo-American Tragedy by Evelyn Waugh. The film follows Dennis Barlow, played by Robert Morse, who joins the funeral industry after his uncle commits suicide. He falls for Aimee, who is the spiritual funeral home stylist, but stumbles on a wicked plan schemed by the cemetery owner. The film was divisive at the time for challenging the limits of dark comedy, where some of its satirical elements threw the audience off their guard. Nevertheless, the film is known for its outrageous humour and a special cameo by the musical prodigy, Liberace.

4 Targets

Tim O'Kelly in Targets
Paramount Pictures

Targets is a crime-thriller directed by Peter Bogdanovich and loosely inspired by shoot the Tower shooting at the University of Texas in 1966 by gunman Charles Whitman. In the film, Tim O’ Kelly played Bobby Thompson, who is a Vietnam veteran who kills his wife and mother and goes on a murderous spree. The film has a parallel story of an actor, played by Boris Karloff, who is known for his horror films and is considering retirement. The two meet at a drive-in film theater where the latter is promoting his film at the same time the murderer claims life outside the theater.

The film was released shortly after the tragic deaths of Martin Luther King Jr. and Robert F. Kennedy, adding to the discussion of political unrest and gun violence in America, which continues to be relevant till date.

3 The Haunting

The Haunting
Metro-Goldwyn-Mayer

The Haunting is a chilling British horror film directed by Robert Wise which follows a group of people experiencing paranormal activities in a haunted house. It was based on the novel The Haunting of Hill House by Shirley Jackson and is considered to be one of the scariest movies of the era.

The film follows an anthropologist who investigates paranormal activities and invites two women to the paranormal Hill House. Both women have experienced other-worldly experiences in the past, and join the anthropologist and the mansion’s heir in exploring the spooky house. Shortly, they begin to hear voices and inexplicable events put their lives at risk.

The film is known for its set design, which was decorated in a Rococo style and was brightly lit, in contrast to the conventional dark aesthetic of horror films. The ceilings of the house were used to create a claustrophobic effect in the film, and Wise incorporated distorted camera movements to create an unsettling aura in the film, which led him to get nominated for Best Director at the Golden Globe Awards.

2 Wild in the Streets

Wild in the Streets
American International Pictures

Wild in the Streets is a political satire that can be considered a product of the counter culture. The film is directed by Barry Shear and questions the eligibility of young minds in political discourse. The film is based on the short story The Day It All Happened Baby by Robert Thom and starred Christopher Jones as Max Frost, who is a musician who lobbies a Senate candidate to give 18-year-olds the right to vote. However, Frost’s fans demand the age limit be lowered to 15 and all hell breaks loose.

The film is a satirical take on the merging of pop culture and politics in America. It has aged well over time and is regarded as a cult classic of the 1960s. The film also starred comedian Richard Pryor as the drummer of Frost’s musical band, The Troopers which went to become a cult of its own. The film exaggerated the sociopolitical issues being fought at the time to present a dystopian view of a fascist world, which still rings true to the politics of a post truth world.

Related: 10 Highly Influential Early Heist Movies

1 Peeping Tom

Carl Boehm in Peeping Tom
Anglo Amalgamated Film Distributors

There are several films that are proven to be classics only at a later time. Peeping Tom is one such film. The film is directed by Michael Powell and is a psychological thriller with a spine-chilling premise. Carl Boehm plays Mark Lewis, who is obsessed with taking risqué pictures of women in his film studio. His obsession takes over his sanity as he murders his subjects and records their fear. However, his secret is out after his new friend Helen witnesses his crime. The film was controversial at the time for its problematic gaze of fetishizing a tormented woman. However, in the later years, the film has become a film school favorite in dissecting its themes of voyeurism and male gaze.

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The 1960s were a pivotal time

Evernote has axed most of its workforce. In a statement shared with SFGate, Bending Spoons, the Milan-based app developer that bought the company last November, said Friday it had laid off nearly all of Evernote’s employees in the US and Chile. Bending Spoons plans to move most of the company’s remaining operations to Europe. The layoffs come less than six months after the firm cut 129 positions at Evernote because the app had been “unprofitable for years.” Bending Spoons didn’t share exactly how many employees were affected by this latest round of layoffs. A scan of LinkedIn reveals some software engineers that had been with Evernote for a few years lost their jobs on Friday.

“Our plans for Evernote are as ambitious as ever: Going forward, a growing, dedicated team based in Europe will continue to assume ownership of the Evernote product,” Bending Spoons CEO Luca Ferrari told SFGate. “This team will also be in an ideal position to leverage the extensive expertise and strength of the 400-plus workforce at Bending Spoons, many of whom have been working on Evernote full-time since the acquisition.” Ferrari added Bending Spoons would provide affected employees with 16 weeks of salary, a prorated performance bonus and up to one year of health insurance.

How the company plans to make Evernote successful in a market crowded with competitors like Notion and Obsidian Ferrari did not say. Whatever Bending Spoons has planned for Evernote, there’s no denying this marks another low point for what was once one of the more popular note-taking apps you could download and an early darling of the App Store boom. Evernote enjoyed a valuation of $1 billion at its height, but a lack of focus and buggy software left the company a shell of itself in recent years.

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Evernote has axed most of its workforce.

What is a Mission: Impossible movie without multiple awe-inspiring practical stunts?

Another Mission: Impossible movie means another summer of Tom Cruise doing unbelievably dangerous practical stunts. Cruise, who has gained a reputation for doing practical stunts himself, returns at Ethan Hunt in Mission: Impossible – Dead Reckoning Part One.

We have already watched one of his death-defying motorcycle stunts earlier this year, which writer-director Christopher McQuarrie called “the most dangerous stunt in the world,” but Cruise and the Dead Reckoning team released a featurette showcasing another intense stunt. Cruise and his co-star Esai Morales, who plays a powerful rival to Ethan Hunt named Gabriel, are seen in the featurette fighting on the roof of a train moving at 60 miles per hour.

Check out the featurette below, then let’s break down how the Dead Reckoning team pulled off this stunt.

Cruise and Morales shot the fight scene practically, which means that the actors were strapped to the top of the train as it sped through a Norwegian valley. While this seems pretty crazy to film, we have to remind ourselves of the amazing plane stunt Cruise performed in Mission: Impossible – Rogue Nation.

“When we started talking about this movie in the terms of a sense of adventure, an action sequence on a train is something we always wanted to do,” McQuarrie said. “We wanted to build upon the previous films and apply that knowledge to something practical and real and bring this train sequence to another level.”

“I’ve done fight scenes, but to do them on a moving train is trial by fire,” Morales said. “But that’s how Tom like to do things.”

“There was not a surplus of trains available to be wrecked,” he added. “We had to build the train if we wanted to destroy it. To shoot it practically was extremely challenging. Not just to execute it, but to design all of the different train carts that could function on a real train track.”

Most of the intense stunts are filmed early in production, allowing Cruise and his co-stars the chance to train their bodies and minds in preparation. This is done just in case a stunt doesn’t work out for whatever reasons and the writers can do major rewrites to accommodate for the safety of the cast.

“I was training and I was ready,” Cruise tells Entertainment Tonight. “You have to be razor sharp when you’re doing something like that. It was very important as we were prepping the film that it was actually the first thing. I don’t want to drop that and go shoot other things and have my mind somewhere else. Everyone was prepped. Let’s just get it done.”

‘Mission: Impossible — Dead Reckoning Part One’Credit: Paramount Pictures

Despite the mixed feelings many people have about Cruise, he is one of the smartest actors in the game and understands how to get people in those empty theater seats. We’ve seen two of the many practical stunts performed by the cast, but what other sweet (and somewhat insane) stunts they are keeping from us?

Mission: Impossible: Dead Reckoning Part One will only screen on IMAX screens for a week before Christopher Nolan’s Oppenheimer explodes onto screens on July 21st. If you want to see these death-defying stunts on the biggest screen possible, then I highly recommend getting tickets for the opening week.     

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Jamie Foxx has been photographed in public for the first time since enduring a sudden medical complication that led to his April hospitalization.

On Sunday, TMZ shared footage of Foxx in a boat on the Chicago River were made public. Foxx appears to be health in the footage, throwing a peace sign to the cameraman. He was onboard with several other guests.

Foxx was admitted to an Atlanta hospital in April after facing a “medical complication.” His daughter, Corinne Foxx, confirmed the situation at the time: “Luckily due to quick action and great care he is already on his way to recovery. We know how beloved he is and appreciate your prayers. The family asks for privacy during this time.”

The new footage of Foxx marks his first public appearance since, seemingly affirming that the actor is on his road to recovery. Foxx later released a personal statement thanking fans for their “love” and assuring them that he was “feeling blessed” amid his recovery. Details surrounding Foxx’s condition have been sparse in the weeks since, though his daughter shared that he had been “recuperating” and “playing pickleball” in late May.

At the time of his hospitalization, Foxx was filming the Netflix film “Back in Action,” starring alongside Cameron Diaz. He is also the host and executive producer of the Fox game show “Beat Shazam,” which launched in 2017. The sixth season premiered in May with Nick Cannon taking over guest hosting duties due to Foxx’s hospitalization. Both Jamie and Corinne Foxx are set to co-host “We Are Family,” a new music-themed game show set to debut on Fox in 2024.

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Jamie Foxx has been photographed in public

The Teenage Mutant Ninja Turtles franchise has left an indelible mark on pop culture since its inception, inspiring generations of fans with its pizza-loving, crime-fighting reptilian heroes. For actor and comedian Seth Rogen, the Turtles had such a profound impact on his childhood that it led to some perilous adventures in real life. As he gears up for the release of Teenage Mutant Ninja Turtles: Mutant Mayhem, which he co-wrote, the Knocked Up star fondly reflected on the karate mishaps that occurred due to his obsession with the iconic characters.

In an exclusive career-spanning interview with Empire, Seth Rogen and his writing partner Evan Goldberg opened up about their childhood love for the Heroes In A Half Shell. The Green Hornet performer fondly shared some of his cherished memories and the mishaps that unfolded during their karate training. The This Is the End actor revealed that their mutual adoration for the Ninja Turtles led them to delve into martial arts together, saying:

Part of the reason I did karate was because of the Ninja Turtles. Me and Evan both did karate together. My dad got me nunchucks that I cracked my head open with, because I was obsessed with the Ninja Turtles, and Michelangelo specifically.

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The BBC has suspended one of its male staffers after reports surfaced that he had allegedly asked a teenager for sexually explicit photos.

The allegations were first reported in U.K. tabloid The Sun on Friday. The mother of the teenager claimed her child used the alleged 35,000 pounds (about $44,934) received from the staffer to fund an addiction to crack cocaine.

“All I want is for this man to stop paying my child for sexual pictures and stop him funding my child’s drug habit,” she told the publication, adding that the requests for photos began when her child was 17.

The staffer hasn’t been publicly named yet, but presenters Jeremy Vine, Rylan Clark and Gary Linekar took to their respective Twitter accounts to say it isn’t them. Nicky Campbell also tweeted that he reported an account that claimed he was the one who requested the photos.

The BBC released a statement Sunday, saying it “takes any allegations seriously and we have robust internal processes in place to proactively deal with such allegations.”

It explained that the broadcaster had first become aware of a complaint in May, but the staffer remained on air. Since new allegations were shared on Thursday of a different nature, the broadcaster has since been in touch with the police.

In a follow-up email to BBC staff, director general Tim Davie stressed everyone is taking the allegations “incredibly seriously” and added that “individuals are entitled to a reasonable expectation of privacy, which is making this situation more complex.”

The internal email continued, “I am wholly condemning the unsubstantiated rumours being made on the internet about some of our presenting talent. We are in contact with the family referenced in the media reports. I want to assure you that we are working rapidly to establish the facts and to ensure that these matters are handled fairly and with care, including by external authorities where appropriate.”

Read the BBC’s full statement below.

The BBC takes any allegations seriously and we have robust internal processes in place to proactively deal with such allegations.

This is a complex and fast moving set of circumstances and the BBC is working as quickly as possible to establish the facts in order to properly inform appropriate next steps.

It is important that these matters are handled fairly and with care.

We have been clear that if – at any point – new information comes to light or is provided to us, this will be acted upon appropriately and actively followed up.

The BBC first became aware of a complaint in May. New allegations were put to us on Thursday of a different nature and in addition to our own enquiries we have also been in touch with external authorities, in line with our protocols.

We can also confirm a male member of staff has been suspended.

We expect to be in a position to provide a further update in the coming days as the process continues. The BBC Board will continue to be kept up to date.”

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The BBC has suspended one of its

Between the return of Chanel’s dainty two-tone sling-backs, and Katie Holmes bringing the world’s tiniest kitten heel to Cannes, the stars have all but relegated their skyscraper stilettos to the back of their wardrobes this summer. 

Gigi Hadid has been partying in pointed-toe heels that are downright sensible by supermodel standards, while Manolo Blahnik’s playful Jadarona mule, with its comparatively dinky 70mm heel, has won over Jennifer Lawrence (with a little help from Barbie). Not to mention how Kaia Gerber’s jeans, white shirt, and bow-bedecked slippers at Valentino became one of couture week’s most compelling outfits (“I can’t think of a better summer party look,” said British Vogue’s acting European fashion features director, Julia Hobbs).

But not every star is ready to turn their back on height-boosting footwear altogether. When Sienna Miller joined British Vogue’s editor-in-chief and Vogue’s European editorial director Edward Enninful at Vogue’s annual Wimbledon lunch with Ralph Lauren on Sunday, she chose a staggering pair of wedge platforms for the occasion. 

With her partner, model Oli Green.

Getty

In her relaxed blue and white striped linen suit by Ralph Lauren, navy and tan basket bag, and classic sunglasses, Miller was otherwise a vision of preppy summer style. But by adding chunky black patent platforms (and a vampish red manicure), the star kept things from becoming predictable.

Sienna at Vogue and Ralph Lauren’s Wimbledon lunch.

Darren Gerrish

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Between the return of Chanel’s dainty two-tone

Sylvester Stallone’s life and career is getting the retrospective treatment courtesy of the Netflix documentary “Sly,” which chronicles the highs and lows of his near 50-year Hollywood career.

“Do I have regrets?” Stallone asks in a teaser that dropped on Friday. “Hell yeah, I have regrets.”

“Sly” is directed by Thom Zimny (“Springsteen on Broadway”) and produced by Sean Stuart, with the documentary to begin streaming in November.

The official logline explains what’s to come: “For nearly 50 years, Sylvester Stallone has entertained millions with iconic characters and blockbuster franchises, from ‘Rocky’ to ‘Rambo’ to ‘The Expendables.’ This retrospective documentary offers an intimate look at the Oscar-nominated actor-writer-director-producer, paralleling his inspirational underdog-story with the indelible characters he has brought to life.”

Stallone also serves as an executive producer on the documentary alongside Bill Zanker, Sam Delcanto, Braden Aftergood, Jon Beyer, Tom Forman and Jenny Daly, with Maren Domzalski and Adrienne Gerard as co-producers.

In the first-look clip, Stallone reflects on his career achievements and their costs. “What is healthier — to live under the illusion that you could have been great? Or actually have an opportunity to be great, and then you blow it, and you realize you’re a failure?” he asks, while key memories of his career flash by, including his first trip to the Oscars in 1977, where “Rocky” won best picture.

Stallone then compares his career to being on a speeding train. “That’s what your life is — whipping by. It’s gone,” he explains, as the camera scans across bound scripts for Stallone’s “Rocky” and “Creed” films. “Filmmaking, it comes at a great price. There’s no time for anything else.”

Despite hanging up his gloves as Rocky Balboa (Stallone did not appear in the franchise’s latest film “Creed III”), his career is seemingly hotter than ever. The actor recently starred in his first TV series, Paramount+’s “Tulsa King,” followed by “The Family Stallone” reality series, which also featured his wife Jennifer Flavin Stallone and their three daughters Sophia, Sistine and Scarlet.

On the big screen, Stallone had a supporting role in Marvel’s “Guardians of the Galaxy Vol. 3” (following a memorable collaboration with filmmaker James Gunn in 2021’s “The Suicide Squad,” where the actor voiced King Shark) and he’s returning for “Expend4bles,” the action franchise’s fourth installment, in September. Plus, Stallone announced plans to reprise his iconic role as Gabe Walker in a reboot of “Cliffhanger.”

The 40-second clip doesn’t give much away about the content of the documentary, other than promising a candid Stallone, who wraps up his existential line of reasoning with this thought: “Nothing inspires you than taking your history, balling it up,” he says, acting out his point and shooting the imaginary ball like a free-throw.

Watch the full teaser for “Sly” below:

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Actor Jeffrey Carlson is dead at 48. He was best known for his groundbreaking role as the daytime TV’s first transgender character on All My Children.

Time Out New York theater critic Adam Feldman was first to share the news on Twitter on Sunday, July 9. A cause of death was not reported.

All My Children alum Eden Riegel was among the first to pay tribute to Carlson after his death. “Devastated beyond measure to hear of the passing of the beautiful and gifted Jeffrey Carlson,” Riegel wrote via Twitter on Sunday. “I feel fortunate to have called this kind soul a friend and see his brilliant work up close. Gone far too soon — an unimaginable loss. Love you, Jeffrey. Rest friend.”

A Long Beach, California, native, Carlson studied acting at The University of California Davis, graduating in 1997, training in New York City at The Juilliard School. He appeared in several Broadway shows — including Tartuffe and Taboo — before making the jump to the screen. He had a guest spot on Law and Order: Special Victims Unit as well as a small role in the 2005 romantic comedy Hitch before he scored his role on All My Children.


Eden Riegel and Jeffrey Carlson on ‘All My Children.’
Heidi Gutman/Abc Tv/Kobal/Shutterstock

Carlson initially had a one-day job on the soap opera as flamboyant British rockstar Zarf. Producers decided the theater veteran was perfect to take on the upcoming story arc for a trans character. Zarf returned to Pine Valley and developed feelings for Bianca (Riegel) and revealed that she actually identified as a woman. Zarf went on to change her name to Zoe.

“I was very moved by it,” Carlson told the Los Angeles Times of the story line in 2006. “If it creates a conversation, I think we’ve done our job.”

The story earned All My Children a GLAAD Media Award for Outstanding Daily Drama in 2007. Carlson wrapped up his run on the ABC soap later that year before returning to theater work.

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Actor Jeffrey Carlson is dead at 48.

Twitter’s parent company sued a leading corporate law firm on Friday for what it said were unjust payments related to Elon Musk’s $44 billion acquisition of the social media company last year.

A $90 million payment that Twitter made to Wachtell, Lipton, Rosen & Katz, a top mergers and acquisitions firm, amounted to “unjust enrichment” and should be paid back, according to the lawsuit, which the parent company, X Corp., filed in San Francisco Superior Court.

The lawsuit said Wachtell Lipton took “funds from the company cash register while the keys were being handed over” to Mr. Musk, who owns X Corp.

Twitter’s previous management hired Wachtell Lipton after Mr. Musk tried to terminate his agreement to acquire the company last year. He was unsuccessful, and the purchase closed in October.

Wachtell Lipton and a Twitter spokesman did not respond to requests for comment.

Twitter has disputed other fees related to Mr. Musk’s purchase of the company. An advisory firm, Innisfree M&A, sued Twitter for $1.9 million in February over what it said were unpaid bills. Joele Frank, a public relations firm, sued Twitter in May, arguing that it wasn’t paid about $830,498 for services rendered in the deal.

Wachtell Lipton is one of the best-known law firms on Wall Street, having advised high-profile deals including Mr. Musk’s failed effort to take Tesla, his electric car company, private in 2018. The firm commands high fees, cementing its perch among the law firms with the highest profits per partner.

The firm has been sued before. In 2018, the activist investor Carl Icahn sued Wachtell Lipton over its work on his hostile 2012 attempt to take over CVR Energy. The suit was dismissed.

According to documents submitted with Friday’s lawsuit, Twitter’s board and executives approved the $90 million payment because Wachtell Lipton and one of its lawyers, William Savitt, had succeeded in making Mr. Musk abide by his agreement to buy the company.

By approving the payment, Twitter’s former executives and board breached their fiduciary duty, the lawsuit said. Twitter’s board rushed to close the deal with Mr. Musk and did not act “prudently” or “on an informed basis,” the lawsuit said.

Wachtell Lipton was wired the bulk of the $90 million fee a mere 10 minutes before the deal closed in October, the lawsuit said. Within minutes of Wachtell Lipton’s receiving that transfer, Mr. Musk fired some of Twitter’s top executives, including its chief legal officer and general counsel, according to the suit.

Yiwen Lu contributed reporting.

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Twitter’s parent company sued a leading corporate

Jeffrey Carlson, the actor who played one of the first trans characters on television as Zoe Luper on ABC’s soap opera “All My Children,” has died at the age of 48, according to Time Out New York theater editor Adam Feldman.

Carlson joined “All My Children” in 2006 as Freddie Luper, a British rock star who goes by the stage name of Zarf. The show followed Zarf’s path of personal discovery and coming out to others as a transgender woman named Zoe, receiving acceptance from some and ostracization from others.

After meeting with a support group and slowly repairing her relationship with her parents, Zoe’s run on “All My Children” ended with her moving back to London with her girlfriend to continue her transition. The storyline earned the show a GLAAD Media Award in 2007.

Outside of “All My Children,” Carlson, a graduate of UC Davis, had a lengthy Broadway career that began in 2002 with Edward Albee’s Tony-winning play “The Goat, or Who is Sylvia?” and a Drama Desk Award nomination for the Boy George musical “Taboo.”

Carlson also performed for the Shakespeare Theatre Company in Washington DC, performing in the title role of its 2005 production of “Lorenzaccio” as well as productions of “Hamlet” and “Romeo and Juliet.”

“We send our love to Jeffrey’s friends, family, and colleagues, those who knew and loved him dearest,” STC wrote in a Facebook post.

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Taylor Swift is going back to December with her “I Can See You” music video, in which she is taking back control of her illustrious music career.

“I wrote this video treatment over a year ago and really wanted to play out symbolically how it’s felt for me to have the fans helping me reclaim my music,” the Grammy winner, 33, wrote via Instagram on Friday, July 7, after premiering the video at her Eras Tour stop in Kansas City. “Joey [King] and Presley [Cash] had been in the video for ‘Mean’ when they were 9 and 13 and they are back and so ridiculously bad ass!! [Taylor Lautner] is INCREDIBLE in this (didn’t have a stunt double!) and shout out to [his wife, Taylor Dome] for being so awesome to hang with on set.”

“I Can See You” is one of Swift’s Speak Now vault tracks, which she released on her rerecorded album hours earlier on Friday. In the music video, King, 23, Lautner, 31, and Cash, 26, help Swift escape from a bank vault — surrounded by lots of Easter eggs.

Keep reading to see how Swift paid homage to her iconic career — and even teased her next rerecorded LP:

Countdown Clock

When the video begins, a timestamp of “July 9th 1:58 a.m.” flashes across the screen. The digits directly reference Swift’s “Last Kiss” (a Speak Now single) where she sings “Fresh on the pavement, I ran off the plane that July ninth” and “lit through the darkness at 1:58” in separate verses.

One day after the video’s premiere, Swift added “Last Kiss” to the surprise section of her Eras Tour show in KC. “I used to play this song with this guitar on the Speak Now tour every night. I don’t know if you noticed the date, It’s July 8th but very late in the night … and tomorrow is July 9th,” she quipped during the Saturday, July 8, concert, per social media footage.

Frozen Behind Glass

Courtesy of Taylor Swift/VEVO

In front of the vault, there is a museum of Swift’s iconic outfits from her OG Speak Now era, including the purple tour dress and the golden Grammys ensemble. The outfits are all locked in glass cages, which provide a callback to Swift’s “It’s Time to Go.” In the Evermore song, she even sings, “He’s got my past frozen behind glass but I’ve got me.”

Joey King Surely Isn’t ‘Mean’

Amid the release of King’s 2010 movie Ramona and Beezus — which she starred in alongside Swift’s BFF Selena Gomez — she appeared in the original music video for “Mean.” King’s video character wore a white, poofy dress that resembled the flower girl dress her movie character donned. Now, King wistfully gazed at the same dress through the glass. The Kissing Booth star also used Swift’s banjo from the OG music video to fight off the security guards on her tail in a second scene.

Long Live, Taylor Swift

Breaking Down Easter Eggs in Taylor Swift’s ‘I Can See You’ Music Video: From 'Speak Now' to '1989'
Courtesy of Taylor Swift/VEVO

Swift spent the majority of the video locked in the vault, dressed in her golden Speak Now tour dress, and accessorized with a “13” written on her hand and the “Long Live” lyrics written on her arm. (She would paint her lucky number and the musical lines onto her body before each 2010 show.)

Going Back to December

Breaking Down Easter Eggs in Taylor Swift’s ‘I Can See You’ Music Video: From 'Speak Now' to '1989'
Courtesy of Taylor Swift/VEVO

The Twilight star, who dated Swift for several months in 2009, appeared in “I Can See You,” to help King break the pop star out of the vault. In one scene, while fighting goons, Lautner shows off his swordsman skills — a reference to his Saturday Night Live monologue, in which he revealed how he wanted to fight Kanye West after the VMAs drama — in front of a white piano. Swift used the same instrument on her 2010 tour when she played “Back to December” — the song penned about her split from Lautner — in the blue gown on a mannequin next to it.

Numbers on the Wall

Eagle-eyed Swifties counted 1,468 tally marks on the inside of the vault, which correspond to the number of days between the time that her masters were sold before Speak Now (Taylor’s Version) came out.

Baby, She’s Got Bad Blood

King and Lautner fighting in the museum reminded many fans of Swift’s “Bad Blood” music video from her LP 1989. They also sought to hold onto a slim silver briefcase, which resembles a similar one Swift carried in “Bad Blood.”

Driving in a Getaway Car

After King and Lautner rescued Swift, they ran outside to reunite with Cash in her waiting van. The vehicle sped away, in what fans called their getaway car. Since Swift has a song titled “Getaway Car” on her album Reputation, it could potentially tease her version of the record is on the way.

Ready for 1989?

Breaking Down Easter Eggs in Taylor Swift’s ‘I Can See You’ Music Video: From 'Speak Now' to '1989'
Courtesy of Taylor Swift/VEVO

As the squad’s getaway car sped away, they drove past a bridge, which has a “1’-9” 8.9tv” sign in the center. Fans immediately recognized that as a potential allusion to 1989 (Taylor’s Version).

King going through a purple laser maze inside the bank is also a reference to Swift’s 1989 era. The “Mine” singer previously went through a similar green labyrinth in a prerecorded skit for her iHeartRadio awards show performance shortly after the OG record dropped in 2014.

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Taylor Swift is going back to December

Iconic Films Released On The Same Day: Which Made More?

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Iconic Films Released On The Same Day:

Thursday night, at what has long been his summer home away from home, Gustavo Dudamel opened this summer’s Los Angeles Philharmonic Hollywood Bowl season. The video cameras caught a contented smile on his face and a cheerful gait to his walk as he came on stage to lead the national anthem. Someone from the bleacher seats shouted, “Don’t go!”

Dudamel’s not, presumably, going anywhere just yet. He still has three full L.A. Phil seasons on his contract as music and artistic director before he moves on to the New York Philharmonic beginning in 2026. But that can seem like tomorrow, given the latest Dudamel hysteria in New York. Between May 13 and the end of the month, nine New York Times writers wrote or contributed to some 10 articles of various kinds — review, feature, commentary, news story, photo essay, opinion piece — about the Los Angeles Philharmonic and/or its music director.

The L.A. Phil is so hot that even the political columnist Maureen Dowd found herself intrigued by our orchestra supposedly having induced, with a little help from Tchaikovsky, an orgasm in an audience member.

But Thursday at the Bowl turned out to be down-jacket chilly. And although Dudamel’s winning program did not disappoint, it wasn’t the special one originally advertised.

Originally the concert was to include a staged performance by director Alberto Arvelo of Mendelssohn’s incidental music to “Midsummer’s Night Dream” with vocal soloists and the Los Angeles Master Chorale. In a year with international celebrations of the 150th anniversary of the legendary stage and film director, Max Reinhard, the production would have allowed Dudamel to rejuvenate one of the most celebrated nights in Bowl history: Reinhard’s 1934 staging of Shakespeare’s play with Mendelssohn’s incidental music that was later turned into a classic Hollywood movie.

The Mendelssohn was recently dropped for the unsatisfying excuse of scheduling conflicts. Instead, Dudamel — who is just back from Venezuela, where he and Arvelo filmed Beethoven’s “Fidelio” based on their illuminatingly rejuvenated L.A. Phil production in collaboration with Deaf West Theatre — replaced it in part with Mussorgsky’s “Night on Bald Mountain” and Dukas’ “The Sorcerer’s Apprentice,” two exceedingly familiar works that have found their way to generations of kids thanks to another Hollywood classic, Walt Disney’s 1940 animated “Fantasia.” Ravel’s “Mother Goose” Suite was also added, while retained from the original Bowl program was Manuel de Falla’s “Nights in the Gardens of Spain,” a piano concerto of sorts with Javier Perianes as soloist.

All four works are musical representations of fanciful magic, midsummer dreams of quite different sorts. One of our most effective conductor storytellers, Dudamel began by launching with startling urgency into “Night on Bald Mountain” directly on the heels of a fervent “Star-Spangled Banner.” What that meant was left to ponder.

Dudamel still has three full L.A. Phil seasons on his contract as music and artistic director before he moves on to the New York Philharmonic beginning in 2026.

(Allen J. Schaben / Los Angeles Times)

“Bald Mountain” happens to be a lovely nature reserve favored by picnickers and Satanic worshipers alike. It was once a Russian fortress. It lies just outside Kyiv, Ukraine. Mussorgsky evokes a midnight witches’ sabbath. The standard Rimsky-Korsakov arrangement that Dudamel used is more flowered than the messy Mussorgsky original, but it is also more nuanced.

Dudamel may or may not have meant this as a statement of world affairs, but it could be heard as an impressively nuanced expression of how beauty and beastliness coexist in nature and society. The performance, astutely played, pitted war against peace, fervid music and its luxuriating opposite at the center of so much Russian art.

Further pitting Mussorgsky against Ravel’s ravishing “Mother Goose,” which began the program’s second half, was downright beast against beauty. In the suite’s fourth movement, “Beauty and the Beast,” sweet clarinet beauty meets bumbling bass bassoon beast. A harp glides. A solo violin nostalgically reflects. Dudamel smiled a lot throughout the evening and certainly here. In the final movement of the suite, “The Fairy Garden,” that followed, Ravel sprinkles melodic magic dust over everything.

Dukas’ source for “The Sorcerer’s Apprentice” was a poem by Goethe that warns of what can happen when a magical device, in this case a broom bent upon destruction, gets into a young apprentice’s incompetent hands. It’s a relatively light-hearted score (again, fun with the bass bassoon), but that only helps make a point that couldn’t resonate with more relevance in a world unmindfully assigned to technology.

Gustavo Dudamel conducts in white suit.

Dudamel conducted more attuned to music than the fuzzy logic of magic Thursday night at the Hollywood Bowl.

(Allen J. Schaben / Los Angeles Times)

“Nights in the Gardens of Spain,” the most recent work on the program, was the one written in wartime. It offers a respite from the battlefields of the First World War in three Andalusian gardens, where the perfumed night atmosphere is one of intoxication, be it mystery, love or the compulsion at all times to dance.

Falla’s evocations are of his own time and place, not a trucking in allegories. The piano is a glitter machine, and Perianes, himself Spanish, plays with sparks and with fire, against Falla’s more iridescent orchestra.

For no good reason, this is the evening’s one score that is somewhat neglected, although it has had its fine champions, Arthur Rubinstein and Martha Argerich among them. Perianes turned up the flame for his encore, Falla’s “Ritual Fire Dance.”

Through it all, Dudamel conducted more attuned to music than the fuzzy logic of magic, the storyteller happily marshalling forces, marveling in details, painting pictures, suggesting sensations. The best magicians never reveal their hands.

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Thursday night, at what has

New photos revealed some major Spider-Man villains that were removed from Spider-Man: Across the Spider-Verse at the last minute.

Sony’s latest web-slinging adventure is continuing to roll at the box office as Shamiek Moore’s Miles Morales traverses the greater Multiverse for the first time in the animated franchise. 

Miles’ Multiversal travels brought him face-to-face with hundreds of Variants of Marvel’s iconic webhead. 

As it turns out, there are even more alternate takes on the wall-crawler that were cut from the movie, along with a whole swath of other Spider-Verse content. 

Villians Cut from Spider-Verse 2

New concept art from the Spider-Man: Across the Spider-Verse artbook offered fans a first glimpse at from Spider-Man villains who were removed from the animated sequel.

Sony Pictures
  • Puma
  •  Art Deco Chameleon
  • Glistening Sliver Diamond Head

The artbook revealed the “film’s character designers were asked to come up with a wide range of background villains;” however, “many of which didn’t make the final cut:”

“The film’s character designers were asked to come up with a wide range of background villains for some of the scenes in the movie, many of which didn’t make the final cut.”

Spider-Verse Villains 2
Sony Pictures
  • Snake Oil Salesman Hobgoblin
  • Leap-Frog
  • Actual Octopus Doctor Octopus
  • Ultimate Mysterio
  • Knives-in-the-Back Rhino

Director Justin K. Thompson remarked that the team “wanted to really express the range of diversity in this universe,” so he asked the character design team to work up “designs for villains with all kinds of body types, physiques, and backgrounds:”

“We wanted to really express the range of diversity in this uni verse, so l asked Kris Anka, Jesús Alonso Iglesias, and Ami Thompson to lake a pass at coming up with designs for villains with all kinds of body types, physiques, and backgrounds, just as we did for our heroes.”

Spider-Verse Villains 3
Sony Pictures
  • Robot Suit Alistair Smythe
  • Bear Skin Grizzly 
  • Leather Jacket Kraven
  • Cartoon Electro

He added that their “approach to the heroes also extends to the villains,” including alternate takes on iconic big bads from across the Spidey canon:

“Our approach to the heroes also extends to the villains. That’s why we have a medieval Vulture and Hobgoblin who wears a flashy sequin suit and looks like snake oil salesman or motivational speaker!”

Spider-Verse Villains 4
Sony Pictures
  • J. Jonah Jameson’s Spider-Slayer MK I 
  • Mooseterio
  • Cavewoman Boomerang
  • TV-on-the-Head Screwball

Some of these different Multiversal takes on beloved Marvel antagonists included a Doctor Octopus that was an actual octopus, a leather jacket-clad Kraven, and Moosterio (a cartoon take on Mysterio). 

While most of these characters never made it into the super-powered blockbuster, there are hints of them sprinkled throughout the film like Kraven, Rhino, Grizzly, and Mooseterio making cameos as prisoners in the Spider-Society’s detainment area. 

Where Were the Villains in Spider-Verse 2?

While Into the Spider-Verse featured a bevy of iconic villains from across Spider-Man lore (i.e. Kingpin, Doc Ock, Scorpion, and Prowler), Spider-Verse 2 was significantly lacking in that department. 

Instead, more focus was put on the primary antagonist of the film (and its eventual sequel), Jason Schwartzman’s The Spot. 

Perhaps all this concept art was done for these Multiversal villains with the intention of getting them into Spider-Verse 2, but as the movie ballooned in scale were pushed to be a bigger part of the next movie. 

Spider-Man: Across the Spider-Verse did a fantastic job of focusing on the sheer breadth of the Spider-Verse and all its wonderful and wacky Spider-Man Variants.

Given next year’s Beyond the Spider-Verse will be the culmination of this critically-acclaimed trilogy, having Miles and co. go up against hundreds of different Spider-Men as well as Spider-Man villains from across the Multiverse. 

Spider-Man: Across the Spider-Verse is now playing in theaters worldwide. 

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The  Disney+ series Secret Invasion, which stars Samuel L. Jackson as Nick Fury, details the veteran agent’s attempt to uncover a conspiracy of alien Skrull infiltrators on Earth. The show’s title refers to a seismic event in the Marvel universe, which took place in the eight-part Secret Invasion event mini-series in 2008. For MCU fans who are less familiar with the comics, here’s a full breakdown of the Marvel Comics Secret Invasion event. Just what was the secret invasion? Who exactly were the aliens that did all the invading? And how did it all work out in the end? Here’s the comic book history of the Secret Invasion and how it differs from what we’re seeing in the MCU.

Marvel Comics

What Is Marvel Comics’ Secret Invasion?

Secret Invasion was the brainchild of Marvel Comics writer Brian Michael Bendis. After revitalizing Earth’s Mightiest Heroes with his New Avengers run starting in 2005, Bendis planted the seeds for what would be one of his greatest epics. He began his long run at the end of the original Avengers series, with the storyline Avengers Disassembled. This story saw the legendary team crumble from within. It was the end of an era that had lasted over 400 issues.

But soon, Captain America and Iron Man would put together a new Avengers team, realizing the world couldn’t go unprotected. For the first time, long-standing Marvel heroes like Spider-Man and Wolverine would join the ranks. Also enlisted was one hero who hadn’t been heard from in a long time: Jessica Drew, the original Spider-Woman. Fans hadn’t seen her in costume in decades but were nevertheless excited for her return. However, this return was not as it seemed. Before we get too far into Marvel Comics’ Secret Invasion, a brief explainer on a particular alien race is in order.

A Brief History of Marvel Comics’ Skrulls, Key Secret Invasion Players
What is Marvel's SECRET INVASION?_2
Marvel Comics

The menacing Skrulls have been a thorn in the side of Marvel’s heroes since 1962’s Fantastic Four #2. The green, reptilian aliens were shapeshifters and could assume the form of anyone. They made life miserable for Earth’s heroes, culminating in the epic Kree-Skrull war in the pages of Avengers. Even after that, they continued to create havoc, notably kidnapping the Thing’s girlfriend Alicia Masters, and replacing her with a Skrull agent. She married the Human Torch, creating a deep rift among the team. During this time, the planet eater Galactus destroyed the Skrull homeworld, leaving them a nomadic race. But they never lost sight of their plans for Earth.

A Skrull from Marvel Comics. Skrulls creature greatly in Marvel Secret Invasion event.
Marvel Comics

The first signs of a Skrull infiltration came in 2006 when an Avenger named Echo killed the assassin Elektra. Upon her death, Elektra transformed back to her natural Skrull state. This led to shockwaves throughout the superhero community. Who else had been replaced? This was especially shocking to the Illuminati, the secret cabal of heroes formed after the Kree-Skrull war. These included Iron Man, the Inhuman King Black Bolt, Black Panther, Professor Charles Xavier, Doctor Strange, Namor the Sub-Mariner, and the Fantastic Four’s Reed Richards. Black Bolt then revealed himself to be a Skrull and attacked the rest of the Illuminati.

Secret Invasion‘s Skrull Infiltration of the Marvel World Revealed

The Skrulls' ruler Veranke in Marvel Secret Invasion event
Marvel Comics

In Secret Invasion, suddenly, every hero in the Marvel Comics universe was a suspect—especially heroes who had died and suddenly come back to life in previous years. Captain Mar-Vell had passed away from cancer years before and had only recently returned. Turns out, he, too, was a Skrull in disguise. Others replaced by Skrulls in Marvel Comics’ Secret Invasion event were Iron Man’s faithful butler Jarvis, the X-Man Longshot, and Brother Voodoo. The biggest blow came when Spider-Woman was discovered to be not only a Skrull, but the Skrull’s ruler Veranke.

Readers learned that the alien Princess Veranke was originally exiled by the Skrull Emperor Dorrek, but after Galactus destroyed the Skrull homeworld, Veranke became the new Empress. She was behind the invasion of Earth, gaining knowledge of Earth’s superhumans while posing as the heroic Spider-Woman. The real Jessica Drew was held captive when Veranke assumed her place.

All-Out War in Secret Invasion‘s Comics

What is Marvel's SECRET INVASION?_5
Marvel Studios

Once revealed in Secret Invasion, Marvel’s Skrulls infiltrated and disabled the S.H.I.E.L.D. Helicarrier, along with their orbiting base, The Peak. Skrulls instigated a massive breakout on the Raft, a supervillain high-security prison. The Secret Invasion comics’ climax saw a huge battle between Nick Fury’s collection of Marvel heroes and the Skrull Armada. Naturally, the heroes ultimately won. But it wouldn’t be one of the good guys who dealt the Skrull their killing blow, but former Green Goblin Norman Osborn.

What is Marvel's SECRET INVASION?_6
Marvel Comics

Those replaced by Skrulls came home, some after years away. But the failure of the Avengers and the other heroes to stop this massive infiltration did not go unnoticed by those in charge. The President of the United States dissolved S.H.I.E.L.D. and replaced it with a new organization called H.A.M.M.E.R. (Don’t ask what it stands for; that’s classified.) Norman Osborn took charge of H.A.M.M.E.R., kicking off a period in Marvel history known as the Dark Reign. For the next several years after Secret Invasion, villains ruled the day in Marvel Comics.

Who Do You Trust in Marvel Comics’ Secret Invasion?

Marvel Secret Invasion cover asking who can you trust?
Marvel Comics

Of course, the MCU is very different than the comic book universe. There are no X-Men or Fantastic Four… yet. The only Kree-Skrull war we know of took place in the past during the events of Captain Marvel. Also, the biggest change is that in the MCU, many of the Skrulls are good guys, like Captain Marvel’s Talos. Ben Mendelsohn reprises his Talos role for Secret Invasion.

Marvel Secret Invasion is coming to the MCU, Talos and Nick Fury
Marvel Studios

The MCU’s Own Secret Invasion

Nick Fury wearing a winter hat and coat looks out into a public square on Secret Invasion
Marvel Studios

The MCU Secret Invasion is much, much more akin to an espionage thriller than a superhero epic—one with an alien twist. The only Avenger we’ve seen so far is James Rhodes, a.k.a. War Machine (Don Cheadle), who is working for the government (and might be a Skrull). Emilia Clarke plays G’iah, the daughter of Talos; we met her as a child in the climax of Captain Marvel. Now, G’iah works with other displaced Skrull refugees, many of whom are angry at how little the human race has done for them in terms of relocating her people to a new home.

Emilia Clarke as the Skrull refugee G'iah in Marvel Studios' Secret Invasion.
Marvel Studios

But where the original Secret Invasion comics were about which Marvel superheroes were replaced with Skrull agents, this series is all about replacing (mostly) ordinary humans in positions of power across the globe. Like many previous Marvel Studios projects, the MCU is taking the comics as inspiration for the premise of Secret Invasion and running with it. Big superhero battles seem very unlikely to happen in the series. However, one thing is certain: although the MCU’s Secret Invasion is sure to be different than the comic book version, we should expect massive changes to the universe as a result.

Originally published on December 15, 2020.

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The  Disney+ series Secret Invasion,

343 Industries is working with a group of modders to restore content cut from the original release of Halo Combat evolved.

As spotted by PCGamesN, the mod team Digsite has been working with 343 over the past year. “Of particular interest to us were design/production docs, Bungie feedback notes, tags, compiled maps, and source data for previously unseen multiplayer maps,” said the team.

Some of the highlights of the restored content include multiplayer maps originally developed for the PC port of Halo Combat Evolved, which was worked on by Gearbox Sofware and released in 2003.

“Gearbox had made a bunch of brand-new textures that were not being used whatsoever,” says Digsite team member Ludus. “I felt it would be a shame if these textures never got used, so I decided to remix Indoor into a brand-new map that could better utilize these newfound bitmaps.”

Perhaps most significantly, the long-lost Macworld demo from 1999 is being added to Halo: The Master Chief collection. Prior to landing on Microsoft‘s first Xbox, Halo was at one point planned to be a third-person exclusive for Mac.

“it took some work to get running in MCC. We’ve set it up as a sandbox to play in, explore, and repurpose for your own mods,” said Digsite.

Not only this but content from the earliest conception of Halo as an RTS  is also being restored, including vehicles and enemy types.

While a lot of these assets are simple, and never got to the point of being implemented in a working version of the game, it’s still a significant moment in the preservation of one of modern gaming’s cornerstone franchises.

343 says there is more content to be shown off, and that the Digsite team will continue to work through the archives of the franchise.