For the first time in 75 years, one of golf’s four major tournaments has returned to the city of Los Angeles.
The United States Open championship, now in its 123rd year, is taking place on the Los Angeles Country Club’s North Course for the very first time (also making it the first time a major championship has been held at the club in general). This lack of major championship presence at the 126-year-old course – some 325 acres in the middle of Beverly Hills — is largely by design; infamous for its discriminatory exclusivity (the club had no Jewish members until 1977, and the first Black member was admitted in 1991), the club has opened its gates to the public to host the Los Angeles Open four times (most recently in 1940) and the 2017 Walker Cup.
“We are enormously honored and excited to bring golf’s national championship to the best sports city in the world, and to do so in a way that the impact on L.A. will last far beyond this Sunday,” Gene Sykes, president, The Los Angeles Country Club, said in a statement shared with The Hollywood Reporter.
This year’s U.S. Open comes during a notable run of major sporting events in Los Angeles: last year’s Super Bowl, and the forthcoming 2026 FIFA World Cup and 2028 Summer Olympics (where golf will be played at the Riviera Country Club). And thanks to the cultural cache of state-of-the-art sports venues with luxury suites like SoFi Stadium and Crypto.com Arena, the ‘Hollywoodification’ of sports, which have long been billed as entertainment, is being further established in the entertainment capital of the world.
“LA is an incredible sports town and it’s an incredible community. … In the U.S., we love to bring our championships to the best venues where we have the best fans, and as you can see around here, this is a very large population that loves its sports and we wanted to bring the U.S. Open to the West Coast,” Janeen Driscoll, director of brand communications for USGA, told THR Friday afternoon. “West Coast championships and U.S. Opens are always extremely successful.”
The Los Angeles Country Club, in its current location just next to the Beverly Hilton, opened in 1911, and was redesigned on that occasion by noted golf course architect George C. Thomas, Jr., who is also known for Bel-Air Country Club, Riviera Country Club and Griffith Park golf courses, among others. In 2010, LACC’s 18-hole North Course was restored by golf course designer Gil Hanse and Thomas biographer Geoff Shackelford in an effort to return it to Thomas’ 1921 vision.
“Our champions and all of our players have told us that where they win their U.S. Open really matters, and Los Angeles Country Club has long been a place that our leaders have wanted to bring this national championship because of the quality of golf that it offers and the tests that it provides to the best golfers in the world,” Driscoll says.
Rickie Fowler walks to the ninth hole at 123rd U.S. Open Championship
Ezra Shaw/Getty Images
The late Sandy Tatum, an NCAA golf champion and former USGA president, advocated (unsuccessfully, at the time) for the U.S. Open to come to the club’s North Course in the 1980s to this end. “I find it so regrettable,” Tatum said. “Just once I would have liked to have had the Open experience that course. It was an absolute marvelous test of golf.”
Though LACC has historically denied entertainment A-listers membership (Groucho Marx, Bing Crosby, Victor Mature and Hugh Hefner — whose Playboy Mansion juts up against the 13th green — among them), this weekend’s tournament represents a marked shift in the openness of the club’s gates to the L.A. public and Hollywood.
“There’s a rich history that is more than 100 years old of people that have been in the entertainment industry who have played golf recreationally, and have played it in movies,” Driscoll says. A curated USGA experience within fan central at the U.S. Open features an excerpt from the organization’s golf museum, focused on the Venn diagram of celebrities and golf. “You’ll see in the display Katherine Hepburn and Bing Crosby and Bob Hope, and then moving forward you have Justin Timberlake and Macklemore … just a variety of people that really love this game.”
The weekend has already seen a concentration of athletic star power, outside of the elite golf players battling for the trophy through Sunday. On opening day, former NFL running back Reggie Bush and the Dodgers’ Clayton Kershaw were in attendance, and day two welcomed former LA Clipper Blake Griffin and former NFL wide receiver Larry Fitzgerald.
Driscoll says part of the USGA’s mission is to encourage more people to play golf, beyond the focus on competitive, professional tournaments. “If we can use the power of these celebrities and how much they love the game to inspire other people to play, especially in L.A. where you have … more than 20 municipal golf courses that are open to the public, then that is a great thing for golf.” (NBC Sports, the USGA’s broadcast partner, filmed a comedic promotional commercial ahead of the tournament at LACC starring Jason Bateman and Will Arnett.)
Another pertinent priority for the USGA, particularly in Southern California’s drought-impacted environment, is sustainability. (Fortunately, the LACC’s grounds are not entirely verdant.)
123rd U.S. Open Championship
Ross Kinnaird/Getty Images
“We have been working with golf courses all across America but particularly in the west and the southwest,” Driscoll says, adding, “The U.S. Open for the USGA is a 501c3, it’s our biggest fundraiser. … [Our work] is centered on making the game more affordable, more accessible and certainly making it more sustainable.”
USGA’s Green Section, a separate division focused on sustainability helmed by leading agronomists and turfgrass experts, has long been focused on spreading awareness about sustainable practices on golf courses, with the help of regional golf associations, golf course owners and architects, water agencies and the players themselves. The division, which has just gotten a multi-year, $30 million commitment from the USGA, has researched and developed “drought resistant grasses” designed to retain their green color in the winter and by using approximately 20 percent less water than more common grass varieties, along with turf grasses that aren’t heavily water dependent.
“We’ve also talked about best practices on golf courses: watering in the middle of the fairways instead of watering wall-to-wall carpet [style], just to be able to be really efficient in our water use, and focus on the areas where golfers are most often,” Driscoll says.
These progressive sustainability practices have already contributed to a 29 percent reduction in the sport’s water usage from 2005-2020, according to research published by the Golf Course Environmental Profilein 2022.
“Brown patches … actually create a better experience for golfers, because it creates what we call ‘firm-and-fast conditions.’ Balls roll more, and that’s more enjoyable for a lot of golfers!” Driscoll says. “But the perception that the golf course is brown makes people think that it’s worse than. We need to change that perception. Just because it’s not green doesn’t mean that it’s not great to play on … [and] golfers can help us by saying, ‘It’s OK to play on these [turf grass] courses.’”
In 2023, the browning of country clubs — both the courses and membership demographics — is ultimately better for the game and the culture surrounding it. And this won’t be the last time Angelenos are welcome into the Los Angeles Country Club: it has already committed to hosting the U.S. Women’s Open in 2032, and hosting the men’s U.S. Open again in 2039.
Chris Hemsworth has wielded many hammers over the course of his Marvel superhero days as Thor, but one goal has always been to hold a minigun in homage to action hero Arnold Schwarzenegger and his 1980s films. Not only did it come true in “Extraction 2,” Hemsworth did it on top of a moving train.
“I didn’t even think it was possible and a lot of people didn’t — the train was moving at 50 miles an hour! We had helicopters landing on the train and guys getting out of that helicopter and jumping into a fight sequence with me … so just to get through the end of the day and still be in one piece was certainly a celebration, but to be able to have captured that onscreen was pretty exciting,” Hemsworth said in a video interview.
“Extraction 2,” which premieres on Netflix Friday, picks up after the events of the first film. After barely surviving the last mission, Australian black ops mercenary Tyler Rake (Hemsworth) is tasked with another deadly mission: rescuing the family of a ruthless Georgian gangster from the prison where they are being held.
Director Sam Hargrave was thrilled that his leading man was willing to climb on top of a speeding train with a helicopter 20 feet in front of him.
“It allows me as a director to photograph it in a very truthful way such that audiences get to see Tyler Rake — and not a stunt double — doing these crazy things like shooting down a helicopter on a speeding train and lighting himself on fire for the thrill of the audience. It opens me up as an artist and I couldn’t do it without him,” he said in the joint interview with Hemsworth.
“Extraction 2” features big action set pieces and ambitious stunt sequences that amp up the tension and excitement. One prison break sequence involves a 21-minute shot that’s made to look like a single take. In it, Hemsworth’s arm is set on fire as he battles on — the Australian actor did the stunt himself over a few takes.
Hemsworth said if anyone but Hargrave had asked him to take on this risk, he would have questioned it. It takes a “huge amount of trust” and he has that with his director. “With Sam having been a stunt performer, a fight choreographer, a second unit action director for many years, I knew that every step was taken to ensure that it was as safe as possible. There’s always a bit of risk involved when you roll the dice, but trust is essential.”
The first “Extraction” in 2020, also directed by Hargrave, broke records for the streaming platform, becoming one of the biggest Netflix debuts ever: it garnered 99 million views in its first four weeks of release. The sequel is expected to break those records and, given the scale and scope of the film, that seems likely.
Hemsworth and Hargrave are among the many stars expected to headline a Netflix Tudum event Saturday in São Paulo, Brazil, along with Henry Cavill, Gal Gadot, Schwarzenegger and more as Netflix previews its upcoming slate of fan favourite titles. The event will be broadcast live around the world.
Hemsworth said it’s important to keep up with the expectations of the audience, but “to get bigger and better each time is a task.”
Looking at Hargrave, he continued, “Then this genius said ‘I got some ideas,’ and all of which involved trying to kill me — both in the film and outside the film — and himself as he’s in the thick of it with the camera, but I think it gives the audience something they deserve, which is something unique and unexpected, and have them on the edge of their seats.”
For Hargrave, it was important that the sequel dive deeper into Tyler’s emotional journey. “Because in the first movie we got the tip of the iceberg, but knowing there’s so much more depth that this character has hidden beneath the surface, it was very important for us to put that onscreen so audiences can connect with him on a deeper level emotionally.”
For Hemsworth, the combination of incredible action and a backstory that allowed him to dig into his vulnerability was a draw.
“What’s really fun for me as an actor is being able to not just have an action film, or not just have a dramatic film, but the integration of the two, and the action scenes can be as spectacular as you want but, without an emotional resonance, it’s just noise,” he said.
Both Hemsworth and Hargrave said stepping outside their comfort zones continues to challenge them.
“Anytime it starts to feel too familiar, you gotta pivot and do something else,” said Hemsworth. “That familiarity comes from feeling safe. I want to be challenged, I want to be fearful in situations and I want to be questioning: ‘Can I do this? Is this too much? Is it not enough?’”
He wants to avoid boredom setting in. “You certainly don’t want that in your own experience in front of the camera or behind the camera or for an audience. So keep it fresh, keep it unique and keep challenging yourself.”
Hargrave echoed those sentiments and said taking on both films was a scary ordeal. He plans to continue to put himself out there.
“As an action director, each project that I take on, I’m trying to unlock a new part of myself as a storyteller. Each challenge hopefully pushes me to that moment of exploring a part of myself maybe I didn’t realize existed,” he said.
“Extraction 2” premieres on Netflix Friday.
Marriska Fernandes is a Toronto-based entertainment reporter and film critic. She is a freelance contributor for the Star’s Culture section. Follow her on Twitter: @marrs_fers
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Catt Sadler is loud and proud about getting a little nip and tuck.
The former “E! News” host is opening up about her decision to undergo a face-lift, neck lift and blepharoplasty ( to remove excess skin from the eyelids.) In an interview with Glamour published Thursday, Sadler said she’s become increasingly interested in the ailments that plague middle-aged and perimenopausal women.
Sadler said there were moments when she worried about what people would think of her getting cosmetic surgery at 48, but that one of the upsides to getting older is caring less and less about judgment from others.
“I was like, ‘What are people going to think? Who’s going to judge me?’ But I think one of the best parts about getting older is giving zero f—-s what people think of you,” she told Glamour.
The journalist documented the surgeries and road to recovery on the subscription texting platform Scriber.
“I began a video series that’s texted to your phone through Scriber, and the intent was to be really raw and very personal in my shares about what I am going through personally, and also the journalist in me educating people about it,” she told the outlet.
“Our bodies are changing, our asses are sagging, our faces are losing volume,” she continued. “How does that make you feel as a woman? How does that affect your relationships? All of that. In the last couple years especially, it started bugging me when I was looking in the mirror more than ever before. I was like, ‘Why do I look so tired? Or why in photos do I look sad?’ … So my resting face was a face of sadness or exhaustion.”
“I’m not personally judging anyone who keeps these things private, but … I did not want to do that,” she continued. “Why not be transparent? Why not inform women about what it can be like?”
The television personality revealed that she’s used injectable Botox and Xeomin since she was 35, and has always had a positive experience. But the same couldn’t be said for fillers, which she described as effective but extremely painful.
“When I had it done, they go in your cheek and stick the needle all the way up,” she told the outlet. “I just remember it hurting really badly. Those are those moments when you’re like, ‘Wait, why do I care about vanity?’ Because in that moment, it’s not nice.”
Once one of Hollywood’s biggest taboos, more and more stars are now getting candid about the pros and cons of going under the knife and using injectables.
Courteney Cox said in March that her biggest cosmetic misstep had been getting fillers and called the cosmetic procedure a “domino effect.” “You don’t realize that you look a little off, so then you keep doing more, ‘cause you look normal to yourself,” she said.
Cox ultimately opted to have the filler dissolved and said, “Thank God they’re removable.”
On the flip side, the increased conversation around chasing youth with needles and scalpels has prompted several stars (including Jennifer Lopez, Cameron Diaz and Paulina Porizkova) to disavow the trend.
“I feel sad that they are distracted from the things they’re meant to do in life, with this consuming idea that they’ve got to fix their face before anything else can happen,” the writer and director said.
“When you say, ‘Is there beauty in aging?’ Aren’t you really saying, ‘Do you think it’s possible for other people to find aging beautiful?’” she asked before adding, “I just don’t give a s—.”
Hugh Jackman just posted a new photo of himself, including his new beard, as his next Wolverine appearance for Deadpool 3 gets underway with production.
The actor’s notable facial hair has always been the subject of speculation whenever it’s popped up in images of Jackman since the big Deadpool 3 announcement. Many think that the look all but confirms fans will be getting an older version of the character—even if it isn’t the same exact one from Logan.
Production for Ryan Reynolds’ highly anticipated threequel just started up despite the writer’s strike still waging against the industry.
Hugh Jackman Show Off His Wolvie Beard
A new Tweet from Wolverine actor Hugh Jackman shows the actor excited for his big return.
The image, which holds Jackman’s facial hair on full display, is captioned “LFG!”—otherwise known as, Let’s F***king Go!
Hugh Jackman
Many fans are assuming this is related to Deadpool 3, which just started production in the United Kingdom.
Earlier in June, Jackman showed off the same beard styling, though, it was a tad shorter at the time.
Hugh Jackman
A Grizzled Wolverine For Deadpool 3?
Initially, some hoped that the Wolverine fans got would be more representative of his time in the earlier X-Men films.
The most likely scenario is that this new Wolverine will be from another new timeline altogether. Taking into account his grizzled look, this Variant of the hero will undoubtedly be dealing with his own intense hardships when Wade Wilson shows up in his life.
The real mystery, however, is if Hugh Jackman’s intense beard will go with the comic-accurate super suit that audiences are dying to see the character don.
Deadpool 3 is set to hit theaters on November 8, 2024.
The latest news about the current-running “Dawn of DC” event is here, and this September, fans will be getting a new Birds of Prey ongoing series from Kelly Thompson, Leonardo Romero, Jordie Bellaire, and Clayton Cowles. The series will include a brand-new character lineup, including Harley Quinn, Cassandra Cain, Big Barda, Zealot, and their leader Black Canary.
Check out all the details in the official press release below!
DC’S NEW COMIC BOOK SERIES ‘BIRDS OF PREY’ IS UNVEILED
Comic book writer Kelly Thompson reveals the brand-new Birds of Prey character lineup in the ongoing “Dawn of DC” series debuting in September
As part of the “Dawn of DC” storytelling initiative, DC’s new ongoing comic book series Birds of Prey debuts September 5, led by an all-star creative team and featuring fan-favorite characters. Series writer Kelly Thompson (Black Widow, Captain Marvel) has been revealing the Birds of Prey character lineup throughout the week, teasing that leader Black Canary will be joined by Cassandra Cain, Big Barda, Zealot, and Harley Quinn for a dangerous new mission. In her DC comic book series writing debut, Thompson herself has teamed up with her Eisner Award-nominated Hawkeye partners-in-crime, artist Leonardo Romero (Batman) and colorist Jordie Bellaire (Wonder Woman), alongside letterer Clayton Cowles for the electrifying series.
Birds of Prey character lineup art by Leonardo Romero
In this new series, Dinah Lance is one of the DC Universe’s most elite fighters, and combined with her sonic scream, she’s a fearsome foe in any scenario…but sometimes even the Black Canary needs help. Faced with a personal mission brought to her by a mysterious new ally, and up against near-impossible odds, she re-forms the Birds of Prey with an unrivaled group—Cassandra Cain, Big Barda, Zealot, and Harley Quinn—with only one goal: extraction of their asset at any cost. What could possibly go wrong? This all-new, all-deadly Birds of Prey is still breaking hearts and faces after all these years!
Birds of Prey #1 triptych gatefold variant cover art by Frank Cho
“When I say this is a dream come true for me, I mean not just working on the iconic Birds of Prey title, but also the characters we were able to fold in, and the creative team we assembled,” said Birds of Prey writer Kelly Thompson. “Leonardo Romero and Jordie Bellaire were two of my first partners-in-crime making superhero books and I’ve been trying to make this happen ever since. It won’t surprise anyone to learn that Leonardo and Jordie are even better than they were the last time we worked together—and working together on this wild book is pure magic.”
“I couldn’t be happier to announce my first monthly project for DC! With this book, I’ve had the opportunity to not only draw some of the most badass women in the DC Universe, but also to work once more with the best people in our industry, Kelly Thompson and Jordie Bellaire” said Birds of Prey artist Leonardo Romero. “I missed the dynamic we had on Hawkeye, so I’m very excited to have our team back together! Can’t wait to show you all what we’ve been doing!”
Birds of Prey #1 will be available at local comic shops on September 5 with a main cover by series artist Leonardo Romero, variant covers by Stanley “Artgerm” Lau and Chris Bachalo, a 1:25 variant by Nick Bradshaw paying homage to the first Birds of Prey series cover by Greg Land and Brian Stelfreeze from January 1999, a 1:50 variant by Chris Bachalo, a 1:100 variant by Leonardo Romero, and a triptych gatefold variant cover by Frank Cho. There will also be a blank sketch cover available.
Fans can read more Birds of Prey comic books with a DC UNIVERSE INFINITE ULTRA subscription. DC UNIVERSE INFINITE subscribers can download comics for unlimited offline reading on their favorite iOS and Android devices. For more information on DC UNIVERSE INFINITE Ultra, download the app from the Apple App and Google Play stores. DC UNIVERSE INFINITE is not intended for children.
The Diablo 4 development team just hosted the first of – presumably many – “Campfire Chats” on Twitch. If you’d like to catch the whole thing for yourself (it’s just under two hours long) you can watch it on YouTube here, but I’ll be breaking down some of the key points mentioned for players wondering how their feedback is being addressed.
Diablo 4 Changes Coming Before Season 1
First, let’s look at changes that were verbally confirmed to be coming before Season 1. Season 1, in case you forgot, hits mid to late July.
Changes to Nightmare Dungeons: The team confirmed that Nightmare Dungeons aren’t as rewarding as they should be, and so are increasing experience gainsand allowing Sigils to open Waypoints to teleport straight to their respective dungeon. This is an effort to increase replayability and limit downtime.
Class buffs: Unspecified buffs to classes were mentioned several times, with a specific mention to classes that struggle with Resource generation.
Caches will no longer drop at a higher level than the player: If you’ve found yourself with a cache of goods from a world boss you can’t open due to being under level, this is a bug that’s being addressed soon.
Druid loot table fix: Druids should see a reduction in the amount of Uniques belonging to other classes – but it was said that this doesn’t mean you’ll never see another class’ items drop.
Progression changes: Map fog will no longer return on new characters in Season 1 onward. In addition, Altars of Lilith will retain their passive rewards, but Renown will not. This means those Paragon points you unlock from Renown need to be re-earned each season. Ugh.
Material caps removed: Some players are already hitting the 10,000 cap for Veiled Crystals, and this (and others) will be removed.
Diablo 4 Changes Coming After Season 1
Gems in Materials tab: Gems will no longer take up inventory space, instead being relegated to the materials tab. Expect this around Season 2.
Resistance balancing: Resistance to elements isn’t working as intended at higher levels, so expect some changes to this coming around Season 2.
Hardcore disconnect protection: Scroll of Escape is planned to activate when the game client recognizes a disconnect around Season 2. Sorry Quin, better late than never.
These were all the big talking points of the stream, but there were other “future” plans tentatively laid out as well, like incorporating LFG functionality, adding new hairstyles and cosmetics, and teleporting to players without returning to town. We have our own complaints about Diablo 4 and want to see it improved as much as anyone. If you’re curious, just check out our critique of Diablo 4.
As expected, the PGA Tour and LIV Golf have agreed that they won’t sue each other, ending a long legal battle.
The news arrives today after last week’s blockbuster announcement that the two organizations will merge. Their agreement included a provision that called for all pending litigation between the tour and PIF to be dropped within 10 days.
However, the deal between the two golfing entities doesn’t mean they are free and clear on entanglements.
Earlier on Friday, the New York Times filed a motion to intervene, asserting the public’s right of access to court records. The order will be heard on Aug. 3, 2023. The Times is undoubtedly trying to learn more about the involvement of LIV’s financial backer, the Public Investment Fund of Saudi Arabia.
Also interested in that aspect is the U.S. Senate. Earlier this week, they started an investigation, citing that the alliance “raises concerns about the Saudi government’s role in influencing this effort and the risks posed by a foreign government entity assuming control over a cherished American institution.” T
Additionally, the U.S. Dept. of Justice is conducting its own antitrust probe of the merger.
Ali Wong Opens Up About Filming ‘Beef’ Finale & Her Acting Journey
In a recent episode of Variety’s Actors on Actors, Ali Wong sat down with Jason Segel and talked about why she got into acting from comedy and her experience working on Beef — including filming the finale episode and what about the series she’s most proud of.
Before they got into Beef, Jason, who also comes from a comedy background, asked Ali if she had always wanted to “parlay” into acting. “Not really,” she replied. “I just wanted to tell jokes for a living.”
However, Ali explained that she had been working as a temp for a long time and that she began acting in sitcoms in order to justify doing unpaid stand up sets at night.
As the two began talking about Beef and its escalating feud, Ali revealed that Beef’s script was still being written as they were shooting, adding that she didn’t even know about the finale while filming.
Like Jason then described, the finale episode “so clearly crystallizes the theme that these two people are essentially the same. There are even moments where [Ali’s character Amy and Steven Yeun’s character Danny] switch voices and [are] like, ‘I am you.’”
“And I totally didn’t understand that that’s what was happening,” Ali said of the voice switch. While the series creator and finale director, Lee “Sunny” Sung-jin, had Ali memorize Steven’s lines in addition to her own, he didn’t tell her why they were doing so — only to trust him.
“Have you ever filmed in a forest for a week?” Ali then asked Jason before describing the experience of filming the finale, calling it “wild.”
Because they filmed parts of the finale for Beef at 2 a.m., Ali and Steven had to run around in the dark. Though Ali acknowledged it looks cool on camera, she said that, in reality, it was terrifying and uncomfortable. “I felt like Shelley Long in Troop Beverly Hills,” she commented.
Unlike Ali, Steven wasn’t fazed by the location or timing. “Steven had been on The Walking Dead for seven years in the suburbs of Atlanta at three in the morning, running away from the zombies,” Ali said.
In fact, during rehearsals, Steven fell out of Danny’s truck (which had just crashed over a hill) onto his shoulder and crawled through the dirt three times. “I was like, ‘You really like doing it?’” Ali told Jason. “And then [Steven] looked at me and was like, ‘I love it.’”
Referencing Jason’s latest work, Shrink, Ali then joked that she’d much rather play a character like Harrison Ford’s Dr. Paul Rhoades — sitting for most scenes and cracking jokes.
Later in their conversation, Jason asked Ali what about Beef she’s most proud of, and she said the cast — particularly because Beef has an all-Asian American cast. “I do think that when you have an all-Asian American cast, which is rare, then the people get to be people,” she said.
“Because, now, when people refer to people in our show, they use other descriptors to describe the characteristics of the person rather than their race,” Ali explained. “Instead of saying, ‘Oh, the Asian husband,’ they’ll say, ‘Oh, the guy who has the sick cardigans, who’s really positive and rides the bicycle.’”
The “Terminator” icon revealed during CNN’s “Who’s Talking to Chris Wallace?” that if eligible, he would run for president. Schwarzenegger was born in Austria and therefore cannot become the President of the United States; the actor did however serve as the 38th governor of California from 2003 to 2011.
When asked by host Chris Wallace if he would run for president, Schwarzenegger replied, “Absolutely.”
“Well, yes, of course,” Schwarzenegger said. “I mean, I think the field was wide open in 2016. And I think the field is open right now. I mean, think about it right now. I mean, who is there? There is really not a person that can bring everyone together.”
He continued, “Who is here today that people say OK, he’s not too old or he’s not too this or too that, or is that because it’s now a question about who do you vote against than who do you vote for?”
Schwarzenegger added, “Put me in because it’s, look – it’s a no-brainer. I see so clearly how I could win that election. I mean, it’s like me and California. And when I was, you know, running for governor, it was clear that people are looking for some new answer, not a right-wing or left-wing, but someone that can bring the nation together and doesn’t see the other party as the enemy…There’s just so many things that need to be done. And can be done. And what makes it so wonderful is because it’s doable. It’s all doable, or at least it’s just people coming together and say yes, we can do it.”
As for former president Donald Trump’s chances at being reelected post-indictment, Schwarzenegger said, “I’m not worried about it because I don’t think it’s going to happen. But I mean, that’s just my thinking.”
The “Fubar” star has previously criticized Trump, especially following his dig at Schwarzenegger hosting “The New Celebrity Apprentice,” the reality show that in part made Trump a household name.
“I hope you’ll work for ALL of the American people as aggressively as you worked for your ratings,” Schwarzenegger clapped back at the then-President-elect in January 2017.
Let us know your thoughts as the season progresses in the comments below and vote in the poll.
NOTE: Obviously people will be posting their thoughts/reactions to the season as a whole, so there will be spoilers in the comments. We advise you not to read the comments until you have watched the latest available episode.
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Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.
Visit the prediction pages for the respective ceremonies via the links below:
PASSWORD — Episode 3: Meghan Trainor — Pictured: Host Keke Palmer — (Photo by: Jordin Althaus/NBC via Getty Images)
Jordin Althaus/NBC via Getty Ima
Weekly Commentary (June 16, 2023): The category for outstanding game shows has moved from Daytime to the Primetime ceremony. Twenty-five programs are up for consideration, including syndicated pop culture staples like “Family Feud,” “Jeopardy” and “Wheel of Fortune.” As a result, five nominees will be named.
When part of the Daytime ceremony, “Jeopardy” holds the record for the most noms and wins with 38 and 19, respectively. CBS’ “The Price is Right” and “Wheel” follow with 36 and 21 mentions across multiple decades.
** This official list and/or category submission is not yet complete or confirmed and is subject to change.
2022 category winner: “Jeopardy” (at the Daytime Emmy Awards)
2023 Emmy Predictions: Outstanding Host for a Game Show
CELEBRITY WHEEL OF FORTUNE – Vanna White
ABC via Getty Images
Weekly Commentary (June 16, 2023): On Monday, “Wheel of Fortune” host Pat Sajak announced he would be leaving after the end of this 41st season. Throughout his run, he’s racked up the third most noms for outstanding game show host at the Daytime Emmys with 21, following Bob Barker from “The Price is Right” (23) and the late Alex Trebek from “Jeopardy” (32). The “Wheel” host has won three times. However, he’s never shared a mention alongside his equally famous hostess Vanna White, who’s been revealing the letters on the board since 1982.
It’s strange considering both “Jeopardy” hosts — Mayim Bialik and Ken Jennings — are both contending, albeit separate, for their competition program. Per Emmy rules, the two never perform their hosting duties simultaneously, thus can contend individually. This is similar to “Saturday Night Live” hosts when opting for guest comedy categories.
Sajak has hosted since the Reagan presidency in 1981. In 2019, White shortly took over hosting duties while Sajak recovered from surgery.
The National Women’s History Museum has long covered the absence of women as game show hosts. TV legend Betty White became the first woman to win an Emmy for game show host in 1983 for NBC’s “Just Men.” The second wouldn’t be crowned until Meredith Vierira in 2005 for the syndicated “Who Wants to be a Millionaire.” She won again in 2009.
It’s unclear if White is eligible to submit herself with her current duties, but it’s about time another woman enters the emcee list.
The good news is some other women are contending for noms, notably Elizabeth Banks (“Press Your Luck”), Keke Palmer (“Password”) and Leah Remini (“People Puzzler”). Palmer would be the first Black woman nominated. Wayne Brady (“Let’s Make a Deal”) and Steve Harvey (“Family Feud”) are the only Black hosts to win.
Nomination voting is now open to the 20,000+ members of the Television Academy. The first round of voting ends on June 26 at 10 p.m. PT. The official nominees will be announced on Tuesday, July 12. The 75th Primetime Emmy Awards, produced by Jesse Collins Entertainment, are (tentatively scheduled pending the outcome of the WGA strike) on Monday, Sept. 18 at 8 p.m. ET / 5 p.m. PT on Fox. The two-night Creative Arts Emmys are scheduled for Sept. 9 and Sept. 10.
And the Predicted Nominees Are:
“Family Feud” (Syndicated) — Steve Harvey
“Let’s Make a Deal” (CBS) — Wayne Brady
“Press Your Luck” (CBS) — Elizabeth Banks
“Password” (NBC) — Keke Palmer
“That’s My Jam” (NBC) — Jimmy Fallon
Next in Line
“Wheel of Fortune” (ABC) — Pat Sajak
“People Puzzler” (GSN) — Leah Remini
“The Price is Right” (CBS) — Drew Carey
“Weakest Link” (NBC) — Jane Lynch
“The $100,000 Pyramid” (ABC) — Michael Strahan
Other Top-Tier Possibilities
“Jeopardy” (ABC) — Mayim Bialik
“Jeopardy” (ABC) — Ken Jennings
“Lingo” (CBS) — RuPaul Charles
“Barmageddon” (USA Network) — Nikki Garcia
“The Wall” (NBC) — Chris Hardwick
“Generation Gap” (ABC) — Kelly Ripa
“Capital One College Bowl” (NBC) — Peyton Manning
“The Wheel” (NBC) — Michael McIntyre
“25 Words Or Less” (Syndication) — Meredith Vieira
“Pictionary” (CBS) — Jerry O’Connell
Other Eligible Titles
“Master Minds” (Brooke Burns); “Split Second” (John Michael Higgins); “Funny You Should Ask” (Jon Kelley); “You Bet Your Life” (Jay Leno); “Game Changer” (Sam Reich)
2022 category winner: Steve Harvey for “Family Feud” (at Daytime Emmys)
The Primetime Emmy Awards, better known as the Emmys, are given out by the Academy of Television Arts & Sciences (ATAS). Since 1949, the awards have recognized excellence in American primetime television programming. They are divided into three classes – Primetime Emmy Awards, the Primetime Creative Arts Emmy Awards (honors artisan achievements), and the Primetime Engineering Emmy Awards (recognizes significant engineering and technological contributions). The typical eligibility period is between June 1 and May 31 of any given year. The Television Academy comprises over 25,000 members, representing 30 professional peer groups, including performers, directors, producers, art directors, artisans, and executives.
Within the past year and a half, Doja Cat has threatened to quit music after fighting with fans and dismissed her own discography; she’s called her prior rap verses “mid and corny” and labeled her past two albums, Hot Pink and Planet Her, as “mediocre pop” and a “cash grab.” Her latest single, “Attention,” weighs in on recent controversy. Opening with a fluttering harp and a canned loon call, the song responds to criticisms of her appearance (“Lost a lil’ weight, but I ain’t never lost a tushy”) and her decision to drop out of The Weeknd’s After Hours Till Dawn tour (“I coulda been an opener, I redirect the bookin’”), biting back against the patronizing commentary of so-called fans. Foregrounding her rapping chops, Doja Cat spits over ‘’90s hip-hop production as if she’s in an audition. She’s got heads turned in her direction; now we watch and wait.
Mark Edlitz’s book, Movies Go Fourth, is an examination of fourth movies in the most popular film franchises of all time and available at https://tinyurl.com/9rejnues. It offers behind-the-scenes stories of fourth films from such beloved series as Star Wars, Star Trek, and James Bond. It also explores infamous fourth films, including Jaws: The Revenge, Superman IV: The Quest for Peace, and Batman & Robin. This book reveals the inside scoop on some of the biggest films in horror (Halloween, Nightmare on Elm Street), sci-fi (Highlander, Terminator, Planet of the Apes), action (Die Hard, Rambo), and comedy (Police Academy). The book also explores some notable unmade fours, including Sam Raimi’s Spider-Man 4 and The Godfather Part IV.
However, not all of the movies are nearly as well-known or beloved as the above examples. Take the Meatballsseries. 1979’s Meatballsis a beloved comedy thatturned Bill Murray into a movie star. Conversely, 1992’s Meatballs 4: To The Rescue is a low-budget film starring that you might not even be aware exists. It stars Corey Feldman (Lost Boys), Jack Nance (Eraserhead), and Sarah Douglas (Superman II). Perhaps, more surprisingly, Meatballs 4 was never intended to be the fourth Meatballs film.
Meatballs 4 started as a script entitled Happy Campers. The film went into production as Happy Campers, starring Feldman. But part way through the shoot, Feldman and writer-director Bob Logan were informed that plans had changed. They were no longer making Happy Campers. Instead, they were told that they were making Meatballs 4. Needless to say, the news was a shock. In the following interview, writer-director Bob Logan explains how he unwittingly wound up making Meatballs 4.
You did not intend to direct the fourth Meatballs film. What happened?
You should have been on a set when I found out.
Let us start at the beginning when you were making a movie called Happy Campers.
Don Borchers (Children of the Corn) bought a company called Moviestore Entertainment, an independent film company. I had recently made a film called Repossessed(1990), a spoof of The Exorcist, with Leslie Nielsen and Linda Blair. Out of the blue, Don called me and asked, “Do you want to make a movie? It’s about the lake and craziness with the kids.” Don did not mention anything about Meatballs, but he did not know about it at the time. I said, “Send the script over.” Don said, “There is no script.” I said, “What’s the story?” He goes, “We don’t have a story.”I asked, “When do we start production? Two or three months from now?” He goes, “We are starting pre-production in six weeks. So it would be nice to have a script.”
I said, “You’ve got no script, you got no story, and you want to complete a movie and three months.” He said, “Give me a script next week. “I went to the Beverly Garland Hotel and locked myself in for a week. Finally, at the end of seven days and nights, I finished the script. I sent it to Don, and he read it. He called me and said, “Let’s start pre-production.” I had three weeks to put the film together.
How did Happy Campers become Meatballs 4?
That is about halfway into shooting the film.One night, after we broke, we had dinner. A guy by the name of Ken Badish, who was from the movie store, came up to the location. Ken tells me, “We’re doing a little change in the film.” I said, “How are you going to change it. We were still shooting the damn thing. What are you talking about?” He said, “We have to guarantee that we’re going to make money. People know what [the phrase] “happy camper” means. But audiences want a title from an established movie. So, we paid to get the rights to the title Meatballs.”
I gave him one of those looks and he realized I was not too pleased. But he said, “That’s what we’re going to do. We’ve already made the decision.” I said that I did not sign up for Meatballs 4. At the time I had already done two movies. I was building my career up, so I did not want to be associated with a film that had a “four” at the end of the title.
I was quite upset, and I threatened to walk. We were halfway through the film and, of course, Ken did not want that. Don and I had a long talk and it was basically, “What are we going to do? We are being paid. Put it out, Bobby. Who cares? Don’t worry it is not going to hurt your career. The movie is going to do either really well with the title or no one will remember it.”
I tried to rationalize it because I did not want to leave my crew. My crew is my family. I did not want to leave the family high and dry. So I stuck with it. I was not pleased, but I stuck with it.
What was the cast’s reaction? From what I have read, Corey Feldman did not seem pleased.
No, Corey was not pleased. Corey was not pleased at all. This was a comeback for him. He wanted to be in something unique to him. But now that we were part four, we were not the starting line-up for the baseball team. Now, they are bringing in the Triple-A guys to finish off the game.
The Regina Jazz Festival is officially underway, with one of the headliners being a Queen City local: Resonance.
Since performing together for the past seven years, Resonance has found what sets them apart from other jazz bands.
“There’s nothing like us in the city here, or at least for quite a ways away,” said Christie-Anne Blondeau, vocalist for Resonance, something they attribute to their style.
“We’re authentic, but we also do covers so people recognize it.”
When it comes to doing covers, the duo emphasized the importance of expanding their horizon as a band through trying out several genres. Whether it be pop, country, or jazz, Resonance has done it all.
For their final show on Sunday, the pair plans to perform in both English and French.
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“We have French in our show,” explained Blondeau. “I’m French-Canadian, so we also have that cultural factor,” which they argue makes them a perfect fit for Jazz Festival, as they bring in performers from across the globe.
This diversity also gives the audience and attendees an opportunity to find new interests when it comes to all things jazz.
The company once seemed invincible, but it’s navigating a bumpy, post-pandemic road with a new chief executive at the helm
Almost immediately after Jeff Bezos handed Amazon to Andy Jassy in July 2021, the trouble began. The company had been soaring post-pandemic, bolstered by overwhelming interest in ecommerce and the cloud, but a return to in-person life and a broad tech drawback changed it all fast. As Jassy took over, Amazon’s share price plunged, customers pulled back, easy deals became hard, and hard deals fell apart. With Bezos living the good life, his anointed CEO dealt with the fallout.
Next month, Jassy will reach the two year point in his bumpy run as CEO. He’s helped bring some stability to the company, but his record’s been marked by approximately 27,000 layoffs, a rush toward retail efficiency, slowing cloud growth, and questions about the company’s focus. Amazon stock is up 48% this year, but down approximately 30% since Jassy took over. And if his first two years were a crucible, the next will be defining, as he’ll face mounting challenges while hoping Bezos doesn’t pull an Iger.
Here’s where things stand inside Jassy’s Amazon at his two year mark:
Retail: New efficiency and new competition
After Amazon’s retail business grew 39% in 2020, it decided to double its fulfillment footprint in 24 months. The aim was to add capacity quickly in case pandemic buying habits kept up. When that hope didn’t materialize, Amazon was stuck with excess space and costs. “We knew we might be overbuilding,” Jassy admitted late last year, but the company proceeded nonetheless. Rising inflation and an uncertain economy further complicated the decision, as people spent less freely on the site. Interest rate increases then drove the market to demand maximum efficiency, leaving Amazon’s entire retail operation misaligned.
Responding to Wall Street, Jassy conducted deep layoffs and looked for efficiency across the business. Amazon soon made plans to sublease its excess warehouse space and sought to use its existing space better. It shifted from a national fulfillment model to a regional model, and many of those regions are now largely self-sufficient, capable of shipping you whatever you need without relying on another network of warehouses. The company also changed its website to help the efficiency push.
“The first few non-sponsored results are going to be products already available in the local distribution center,” Bernstein analyst Mark Shmulik told me, sounding impressed with the changes. ”They’re actually tying inventory to how they’re displaying the results.”
With retail stabilizing, Amazon must now fend off new competitors capitalizing on the bargain shopping trend. Notably, Chinese retailers Temu and Shein are continuing to gain adoption in the U.S., with Temu alone reaching 74.1 million downloads, per Apptopia. Not all Temu users are active, but usage is soaring. These challengers are effectively bringing many of the made-in-China brands on Amazon directly to consumers at a lower price, though with worrying labor practices. To avoid losing share, Amazon will have to respond. In retail, there’s no such thing as a break.
Amazon Web Services: Resetting expectations in a different market
In the zero interest rate era, companies would spend wildly on cloud services without much thought. “It wasn’t just capacity,” said Shmulik. “It was value added services like ‘Oh, I want the platinum SLA.’”
Amazon Web Services’ customers believed the good times would roll on, that growth was inevitable and that extra space or higher levels of services were worth the cost. No longer. As interest rates rose, companies looked for places to cut, and CFOs began scrutinizing the fancier AWS packages. In many cases, they limited plans to increase spending or even cut back.
Alongside a pullback from bigger cloud customers, Amazon struggled to keep growing with startup money as VC funding grew scarce. “It’s still a bit dry out there, aside from some pockets of AI investments,” said Shmulik. “These digitally native tech startups are typically born on AWS so you’re not seeing those dollars flowing.”
AWS growth slowed to 16% in this year’s first quarter, down from 20% last year. And it may slow further before it picks up. The company’s cloud services division will also have to work to keep its shine as competitors including Microsoft and Google rush to support AI. AWS did counter in April with new tools to build generative AI applications in AWS. This fight is in its in infancy though, and how Amazon fares could meaningfully influence the company’s trajectory.
Experimental productions: AI and Focus
Bezos had plenty of executives to pick from when considering his eventual replacement, and landed on Jassy. By selecting the technologist running AWS, instead of someone with deep retail experience, Bezos was making a bet on the future. Jassy had been at the helm of Amazon’s most successful expansion (the AWS building in Seattle is called “re:invent”) and was best positioned to lead the company through necessary transformations in the future.
Amazon under Jassy has, however, been notably absent in the race to release new consumer, generative AI applications. Currently, there’s a document floating around the company with more than 60 employee-sourced ideas for ChatGPT-like uses. But Amazon is clearly behind, a surprise given its lead in voice computing with Alexa.
Amazon’s delay on ChatGPT-style tech underscores Jassy’s challenge. To reward Bezos’ faith in him, he’ll have to push forward with new experiments at a time when market is punishing excess spending. The temptation, currently, is to shut down experimental projects vs. spin them up. And while focus is necessary in today’s Amazon, being timid to push ahead could hold the company back in the long run.
No show on television has more or better needle drops than “Yellowjackets.” In the recently-concluded Season 2 alone, the Showtime drama featured a bevy of recognizable and iconic hits like Papa Roach’s “Last Resort,” Radiohead’s “Climbing Up the Walls,” and The Cranberries’ “Zombies.” Behind those choices is music supervisor Nora Felder, who selects and approves all of the alt rock and ’90s classics that soundtrack the Yellowjackets team’s descent into cannibalism.
“When I first spoke with the team I had told them it was really important for me, if possible, if I could get the scripts early on,” Felder said about her process during an interview with IndieWire Awards Editor, Crafts and Animation, Bill Desowitz at IndieWire’s Consider This event on June 3. “Whenever I have the stories and the characters in my head, it makes it a lot easier for me to start going through my music listening process … lyrics will all of a sudden jump out at me that can attach to the story when I know what the story’s about.”
Felder was one of three members of the “Yellowjackets” team to appear at the IndieWire Consider This event at NeueHouse Hollywood June 3. Felder was also joined by series star Christina Ricci and executive producer Karyn Kusuma at the brunch event to discuss the second season of the show, which premiered in March and wrapped after the ninth episode aired May 26. In a panel conversation with IndieWire editor in chief Dana Harris-Bridson, the three discussed the buzzy show’s Season 2 finale.
Season 2 contains two prominent needle drops of songs from singer-songwriter Tori Amos’ popular 1994 album “Under the Pink”: “Cornflake Girl,” which plays at the end of the season premiere, and “Bells for Her,” which plays at the end of the third episode. In her interview with Desowitz, Felder explained that she didn’t intend to choose multiple songs from Amos, but felt both fit the scenes they soundtracked perfectly: “Cornflake Girl,” with its lyrics about not fitting into a societal mold, plays when Shauna (Sophie Nelisse) eats the ear of her dead friend Jackie (Ella Purnell), while the spiritual “Bells for Her” plays during a significant moment for the cult leader Lottie (Simone Kessell).
“I remember the editor called me saying, ‘I’m presuming you want this to hit on the bite,’” Felder said about the ‘Cornflake Girl’ needle drop.
Watch the full interview with Felder above. For more stories from IndieWire’s Consider This event, learn more about our panel with Felder, Ricci, and Kusama, watch it, and see photos from it here.
Sign up to be notified of more IndieWire events here.
The assembly is taking place hours before the 7:10 first pitch of the team’s game against the San Francisco Giants.
The “Catholics for Catholics” organization is the organizer of the protest, which so far appears peaceful and without opposition. Most fans attending tonight’s game will not show up for several hours.
Protesters are currently at Parking Lot 13 outside Dodger Stadium. Whether they will attempt to disrupt arrivals outside the stadium or protest inside has not been revealed.
The protest is the latest marker on what’s become a public relations nightmare for the Dodgers. They disinvited the Sisters of Perpetual Indulgence to “Pride Night” when Catholics initially protested their involvement, then reinvited them when gay rights organizations threatened to pull out of the event.
On Monday, the team was slammed in a statement from Archbishop José Gomez of Los Angeles, Cardinal Timothy Dolan of New York, and the president of the U.S. Conference of Catholic Bishops, Archbishop Timothy Broglio of the Military Services.
“A professional baseball team has shockingly chosen to honor a group whose lewdness and vulgarity in mocking our Lord, His Mother, and consecrated women cannot be overstated,” the archbishops said. “This is not just offensive and painful to Christians everywhere; it is blasphemy.”
The Sisters of Perpetual Indulgence are slated to receive the Community Hero Award during a pregame ceremony.
LOS ANGELES- A huge group of Catholics and Christians have already arrived outside of Dodger Stadium to pray in protest of the Dodgers honoring the Sisters of Perpetual Indulgence.
In previous “Transformers” movies, fans have seen their beloved robots Optimus Prime, Bumblebee and Arcee battle their way out of plenty a dilemma. But have they ever seen an Autobot kick butt to the rhymes of LL Cool J? That’s the energy of “Transformers: Rise of the Beasts” (in theaters), with its director Steven Caple Jr. giving the franchise an inclusive spin.
The down on his luck Brooklyn native Noah Diaz (Anthony Ramos) is recruited by the Autobots to retrieve an artifact held by the museum researcher Elena Wallace (Dominique Fishback) that could transport the stranded Autobots back to their home planet, Cybertron.
Robot fights ensue (mainly with a rival faction called the Terrorcons), but apart from the dazzling effects and globe-trotting backdrops, what gives Caple’s film its singular identity is the 1990s New York City hip-hop it takes inspiration from.
“The ’90s was a specific era, in general, that is definitely what we wanted to tap into with the film,” Caple said in an audio interview. A sense of Black cultural spirit — the fashion, music, and community — was one that Caple felt was missing from many big budget movies of that decade. He said that it was only present if you were watching films by Black directors like John Singleton and Ernest Dickerson, major influences for Caple.
To imbue the film with this nostalgic presence, the production first needed to transform a section of Montreal into Brooklyn. The effects of gentrification in Brooklyn were a factor that necessitated the move across the border. The team referred to the photography of Jamel Shabazz and the television series “New York Undercover” as visual touchstones to capture the city’s past aesthetics. They also scoured Montreal for a semblance of a street that could serve as Noah’s neighborhood, and populated the area with vintage Oldsmobiles, Cavaliers and an Acura Legend. A tracking shot near the film’s beginning creates a vivid reawakening of the era: Noah walks down the street past classic cars, and through scenes of people sitting on crates and drinking quarter waters, of some selling tapes out of their trunk.
Caple and the production designer Sean Haworth credited Ramos and Fishback — both New York natives — with providing notes that added to the film’s authenticity.
“They start bringing things that they remembered from their childhood,” said Haworth in an interview, “things they liked or the music they listened to, the books they read.”
Another texture from the ’90s arises in the film’s period-accurate fashions. Caple credited the costume designer Ciara Whaley with rewatching television shows like “The Fresh Prince of Bel-Air” and “Living Single” to inspire the fly look composed of chokers and suspenders for Fishback’s Elena. For Noah’s appearance, Caple wanted to draw from the decade’s popular clothing lines. “I was very specific in being like, I wanna work with the Karl Kanis and the Walker Wear, the gear we were pushing during that time, but also were Black owned,” he said.
While the film’s visual callbacks are imperative, it’s the hip-hop soundtrack that gives “Rise of the Beasts” its sonic verve. The music occasionally springs from diegetic sources. Fishback, for instance, suggested to Caple that Elena should sing to herself whenever she’s nervous. It’s why when the Terrorcons infiltrate Elena’s museum, she can be heard crooning TLC’s “Waterfalls” to herself.
At other times, a needle drop of a radio classic will propel a scene, such as Digable Planets’ “Rebirth of Slick (Cool Like Dat)” powering a heist sequence whereby Noah attempts to steal an Autobot disguised as a Porsche. Other soundtrack samplings include Black Sheep’s “The Choice Is Yours,” The Notorious B.I.G.’s “Hypnotize,” A Tribe Called Quest’s “Check the Rhime” and Wu-Tang Clan’s “C.R.E.A.M.” The music remains prominent even when the action shifts from the confines of New York City to the rolling hills of Peru. During the final battle between the Autobots and Terrorcons, LL Cool J’s “Mama Said Knock You Out” provides a sharp punch that put a dent in the film’s budget.
“It fits so perfectly, but the studio said this is gonna be the most expensive song in the movie,” Caple said. “It was that pricey. But it just felt so right.”
As did commissioning the soundtrack’s sole original song, “On My Soul,” by Tobe Nwigwe (who also stars as Noah’s friend Reek) and the hip-hop legend Nas, featuring Jacob Banks. The defiant track not only gives the final battle a firmer edge beyond the easy grooves of the throwback needle drops, it marries contemporary recording techniques with ’90s flair, particularly through Nas’s sharp verses. In an interview, Nwigwe said that Nas “came in and just cooked up greatness.”
To Caple, harnessing the ’90s hip-hop scene was more than artistically fulfilling. It’s a vision of urban Blackness that needn’t be politically important, even as it showcases a specific cultural lens of music and fashion. And while it’s easy to see “Transformers: Rise of the Beasts” as a bid for nostalgia, Caple doesn’t want to call it a comeback. It’s a resurgence.
A producer for Fox News who had previously worked on “Tucker Carlson Tonight,” Alex McCaskill, has exited the network after he was considered responsible for Tuesday’s on-air headline that referred to President Joe Biden as a “wannabe dictator.”
In its entirety, the headline read: “Wannabe dictator speaks at the White House after having his political rival arrested.” The chyron was featured during a broadcast covering the indictment of former President Donald Trump.
According to the Associated Press, Fox issued a statement the following morning saying that the chyron had been taken down and “addressed.” McCaskill then sent in his letter of resignation but was met with a request for an immediate departure, the AP reported.
Fox News did not immediately respond to Variety‘s request for comment.
The Daily Beast’s Justin Baragona reported that the producer announced his departure in an Instagram post on Friday. “Today was my last day at Fox. It’s been a wild 10 years and it was the best place I’ve ever worked because of the great people I met. But the time has come. I asked them to let me go, and they finally did. To all my friends there: I will miss you forever,” wrote McCaskill in the post, a screenshot of which was posted to Twitter by Baragona.
Prior to McCaskill’s announcement, White House press secretary Karine Jean-Pierre was asked about the headline on Wednesday and replied, “There are probably about 787 million things that I can say about this.” Jean-Pierre continued, “That was wrong — about what we saw last night — but I don’t think I’m going to get into it.”
Carlson, who abruptly exited Fox News in April, also released a video statement about the situation via Twitter on Thursday. “First they scolded the producer who put the banner on the screen,” Carlson said. “Less than 24 hours after that, he resigned. He had been at Fox for more than a decade. He was considered one of the most capable people in the building. He offered to stay for the customary two weeks, but Fox told him to clear out his desk and leave immediately.”
Ever since its launch in September of 2019, Disney+ has been the undisputed home of Marvel.
Despite advertising itself is place to watch every MCU film in chronological order, however, the streaming service has had some glaring omissions in its Marvel timeline.
Photo: Marvel
While recent Spider-Man releases “Far From Home” and “No Way Home” continue to be unavailable, Disney has now added one of Marvel’s seminal films- 2008’s “The Incredible Hulk”.
Photo: Marvel
Remember ‘The Incredible Hulk’?
For those who don’t remember, “The Incredible Hulk” was released the same year that “Iron Man” kicked off the MCU.
The film starred Edward Norton as Bruce Banner, a scientist desperately looking for a cure to the gamma radiation inside of him. Because of the poison in his cells, Banner can transform into an entity of unbridled force and rage- The Hulk.
Photo: IMDB
In the film, Banner struggles to avoid the obsessive pursuit of his nemesis, General Thunderbolt Ross, who seeks to capture him and brutally exploit his power.
While “The Incredible Hulk” is largely forgotten by Marvel fans, and Edward Norton would eventually cede the role to Mark Ruffalo, the film is still an important chapter in Marvel cannon.
Photo: Also IMDB
Recently, “Incredible Hulk” antagonist Abomination reappeared in “She Hulk: Attorney at Law”, additionally, Thunderbolt Ross and Banner’s love interest Betty Ross are set to return in “Captain America: Brave New World”.
Watch It Now
So, if you are looking to re-watch the MCU in chronological order, or perhaps, you have never seen “The Incredible Hulk”, now is your chance.
Photo: Time
“The Incredible Hulk” is now streaming on Disney+.
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During this year’s Annecy International Animation Film Festival‘s “Share With” session, Suzanna Makkos (Executive Vice President, Original Comedy and Adult Animation, Max and Adult Swim) revealed the Max Original Adult Animation Slate, and among the shows talked about were season four of the acclaimed series Harley Quinn, and the upcoming Kite Man spin-off series.
According to Makkos, Harley Quinn will return for its fourth season this summer, and will presumably pick up after the events of season three — Poison Ivy is running the Legion of Doom, Harley Quinn has given up villainy, Bruce Wayne is in prison for tax evasion, and Batgirl is leading the Bat Family (which now includes Harley). What kind of insanity will result from all of this? You’ll have to wait until season four to find out.
Makkos also confirmed that the Kite Man spin-off is still on the way, and has a new name — Kite Man: Hell Yeah!Originally titled Noonan’s, this series will center on the HQ side character (and former fiance of Poison Ivy), Kite Man, and his time running Noonan’s bar, which is seen numerous times throughout Harley Quinn. It was revealed that the series will highlight the titular character even further as he teams up with iconic DC rogues like Bane and Lex Luthor.
Kite Man: Hell Yeah! has already received a series order for ten episodes and may possibly get set up in the upcoming fourth season of Harley Quinn.
Kite Man: Hell Yeah! does not have an official release date set yet for Max.
Every Bethesda and Activation/Blizzard games were releasing on both platforms, they didn’t have to spend a penny there. And then they spent and trying to spend a total of 76 billions… 19 YEARS of current Gamepass revenue (not even profit), just so millions of gamers won’t have access to them, and XBox gamers gained ZERO games.
And people compare this to a single studio purchase Insomniac, a studio has always been releasing games on PS exclusively, and then released an amazing game on XBox but Xbox gamers didn’t give an F, so they went back to Sony, and now became first party.
“Sunday,” by Uzbekistan-based director Shokir Kholikov, was Thursday named best film in the Asian New Talent section of the 25th Shanghai International Film Festival.
The Asian New Talent Awards are called Golden Goblet Awards, but are separate from the festival’s official competition section, and favor new and emerging talent. The main competition jury will hand out its Golden Goblets on Sunday.
The best director prize in the Asian New Talent section was shared by two helmers: China’s Luo Dong won for “May.” So too did Kazakhstan’s Aisultan Seit for “Qash.” Luo previously attended the Shanghai festival’s project market ten years ago and has since completed one other film.
“Every film in the [section] is very insightful with mature technology. Also the subject is contemporary, to express the in-depth thinking of society and humanity,” said Aktan Arym Kubat, chair of jury for Asian New Talent. “I have encountered many difficulties but remain obsessed with filming excellent works. So, I really hope that the young and talented filmmakers like you could keep creating and contributing to the film industry. “
In their official statement, the Asian New Talent jurors said, “The new directors’ works are quite mature, and the subject matters are also innovative. They don’t look like novices anymore.”
Shanghai Asian New Talent Section Awards
Best film “Sunday” dir. Shokir Kholikov (Uzbekistan)
Best director (joint winners) Aisultan Seit for “Qash” (Kazakhstan) Luo Dong for “May” (China)
Best actor Yue Hao in “Day Dreaming” dir. Wang Zichuan (China)
Best actress Sorour Peyrovani in “1.5 Horsepower” dir. Rasool Kahani (Iran)
Best scriptwriter Chen Xiaoyu for “Gone With the Boat” (China)
Best cinematographer Davood Malek Hosseini for “Cause of Death: Unknown” dir. Ali Zarnegar (Iran)
David Fincher reflects on The Girl with the Dragon Tattoo, calling it a “swing and a miss” that he remains very proud of.
If all went according to plan, David Fincher was all set to follow his English-language remake of The Girl with the Dragon Tattoo with The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest. However, those sequel plans were cancelled when the movie didn’t generate the return the studio wanted.
David Fincher reflected on The Girl with the Dragon Tattoo while speaking at the Tribeca Film Festival (via Entertainment Weekly), calling it a “swing and a miss.” Despite not getting to complete the trilogy, Fincher remains very “proud” of the first movie. “We did it the way that we could,” Fincher said. “And when people said it cost too much for what the return on investment was, I said, ‘Okay, swing and a miss.’“
The Girl with the Dragon Tattoo had a budget of $90 million and went on to gross $232 million worldwide. Sure, it’s not the biggest box-office success, but I feel like sequels have been greenlit with less. The film wound up being more expensive than it probably needed to be as David Fincher wanted to stay true to the novel’s Swedish origins. “We had pledged early on that we wanted to make a movie that was not embarrassing to its Swedish heritage,” Fincher said. “They said, ‘Well, can you shoot it in Atlanta?’ I was like, ‘Well, no. Atlanta for Sweden? I don’t know.’ We wanted it to be true to its essence. You shoot in Sweden, you’re shooting for eight or nine-hour days, if you’re lucky. And so the movie took 140 days to shoot. I was proud of it. I thought we did what we set out to do.“
Although we never got the David Fincher sequels, the franchise did eventually return with The Girl in the Spider’s Web which served as a soft reboot. Claire Foy replaced Rooney Mara as Lisbeth Salander, with Sverrir Gudnason replacing Daniel Craig as Mikael Blomkvist. The film was a genuine box-office disappointment and received mixed reviews.
Amazon was said to be working on a TV series centered around Lisbeth Salander, but it’s been a while since we last heard about the project. The series wasn’t going to be a sequel or continuation of the story from the books or films, but would have placed Salander in “today’s world with a wholly new setting, new characters, and a new story.“
You really can find anything on Craigslist. Just ask Jennifer Lawrence, who shared a particularly bizarre sale while promoting her new movie, No Hard Feelings
In the film, Lawrence’s character answers a couple’s Internet ad searching for a girlfriend on behalf of their teenage son (Andrew Barth Feldman). In a turn of events that could only be described as kismet, the 32-year-old actor has her own Craigslist story involving Lee Eisenberg, a writing partner of No Hard Feelings director Gene Stupnitsky.
“Years ago, Lee Eisenberg bought a toilet on Craigslist from my mom. My toilet,” Lawrence told People. I know you have so many follow-up questions, but J.Law doesn’t why her mom sold the toilet: “I’m like, ‘I broke it.’ My mom sold it for me.” Lawrence did say that Eisenberg knew whose toilet he was purchasing, which is “how we know the story now.” She added, “So thanks, Mom.”
Jennifer Lawrence, who welcomed her first child in February 2022, was in the midst of her two-year-long break from acting when she read the No Hard Feelings script. “I definitely wasn’t planning on going back to work,” she told People. “But it was the funniest thing I ever read and I wanted to make it right away.”
Honestly, J. Law has been missed. Very few celebrities are as entertaining during press tours as the Hunger Games star, who is known for her iconic red carpet-mishaps, impeccable style, and hilarious stories about her A-list besties. Rob Pattinson comes close, but mostly because he lies a lot. Of course, Lawrence has also admitted to bending the truth in the past. You know, for the bit.
During a 60 Minutes interview from 2018, Lawrence revealed she used to “invent stories” as a kid, including lying to teachers and classmates about having a wooden leg. “I, like, walked in a very consistent limp. Like, incredibly consistent,” she said. “And when my mom came to get me from school, my teachers were, like, ‘It’s awful what happened to Jennifer’s leg.’ And my mom was, like, ‘She does not have—she’s—her leg has not been amputated.’ I used to just invent stories just to invent them.”
We have some somber news to begin our Fanatic Feed on Friday, June 16, 2023.
Brett Hadley, who played Genoa City detective Carl Williams on The Young and the Restless, has died.
He was 92.
Soap Opera Digest broke the news. A cause of death has not been revealed.
Hadley joined the CBS daytime soap in 1980 and was a part of some of the most shocking storylines.
The actor initially departed in 1991, but the character remained present in Genoa City as the topic of several conversations.
Hadley returned to the role in 1998 as part of a storyline that found Carl attacked and near death.
In one of the wildest twists in soap history, viewers learned he had amnesia and disappeared from Genoa City to start a new life as Jim Bradley.
Hadley’s final time playing Carl was in 1999. His former co-stars released statements to Soap Opera Digest about the actor’s passing.
“The passing of Brett Hadley is such sad news. He was a delight to work with and was an upbeat and happy presence in the halls and on the set,” said Beth Maitland (who plays Traci on the CBS series).
“He was an old-fashioned guy. Always professional, but full of fun stories and laughs and was always happy to be on the stage.”
“His memory speaks to a happy time, when soaps were in their heyday and the actors were legendary and larger than life.”
“Rest well, old friend. You will be missed,” the actress added.
Tracey E. Bregman (who played Lauren) adds:
“Brett had the best sense of humor ever and he and Doug [Davidson, Paul] were a lethal pair to attempt to do a scene with.”
“He was a wonderful actor and a great part of YOUNG AND RESTLESS in those years. He will be very missed.”
Lauralee Bell (Christine) shared:
“Brett was the sweetest guy. Biggest smile and the believability of he and Doug Davidson being father and son was like no other!”
“I was so sorry to hear of Brett Hadley’s passing. Although I did not share many scenes with him, I always found him to be a very kind and generous man,” said Jess Walton (Jill).
“It’s always sad to lose one of our beloved castmates and he will be very missed.”
Added Kate Linder (Esther):
“Brett was an amazing actor. He definitely owned that role. I can still hear his voice.”
“There will never be another Carl Williams. My heart goes out to his family and friends.”
Hadley’s additional TV credits included The Bold Ones, The Lawers, The F.B.I., Lucas Tanner, Ironside, Police Story, The Waltons, and many more.
On the big screen, he starred in The Mad Bomber, Next of Kin, The Babe, and more.
NATAS revealed that Daytime Emmy® Award-winning actress Susan Lucci and legendary talk show host Maury Povich will be the Lifetime Achievement Honorees at the 50th Annual Daytime Emmy® Awards, both in the field of daytime television.
The honors will be presented in person during the telecasts once they are rescheduled.
In addition, NATAS has announced the 2023 Gold and Silver Circle Honorees, recognizing admired individuals who have made enduring contributions to daytime television.
They will also be honored at the 2023 Daytime Emmy® Awards. Adam Sharp, President and CEO, NATAS, said: “We are thrilled to be recognizing two icons with Lifetime Achievement honors, Susan Lucci and Maury Povich.”
“Both of them have had astonishing success and deep impact in the world of daytime television, Susan in drama series and Maury in talk, and have left their indelible marks on the industry. We look forward to celebrating their achievements and to also recognize the Gold and Silver Circle honorees when our celebrations are rescheduled.”
Susan Lucci said: “I am truly humbled to receive this esteemed award from the Academy. Throughout my career, I have been incredibly fortunate to work alongside exceptional talents and embraced by my fans that have been with me every step of the way.”
“This honor is not just a reflection of my journey, but a testament to the enduring power of storytelling and the profound connection we are so lucky to forge with audiences all over the world through television.”
Maury Povich said: “I’m just blown away by this honor from the Academy. I have always had great respect for its work as I served on the National Board and was President of the New York Chapter.”
“I guess if you hang around long enough, some good things happen. It’s been a 60+ year ride for me in this business, so I feel extremely blessed with this acknowledgment.”
Over in the world of reality TV, Vanderpump Rules notched another high for Bravo and Peacock.
The highly-anticipated first part of the reunion special reached 4.6 million viewers across all platforms in its first three days.
Those numbers are the most-watched Bravo episode of any series in over nine years and the most-watched Vanderpump Rules episode of all time.
It looks like the Scandoval brought the series back from the TV scrap heap.
The “Annie Hall” actress asked director Francis Ford Coppola via Instagram Stories, “Why on Earth did you choose me for ‘The Godfather’?!”
Coppola replied, “I chose you, because although you were to play the more straight/vanilla wife, there was something about you, deeper, funnier, and very interesting. (I was right).”
The auteur added that it was Keaton’s breakout performance in the musical “Hair” that in part convinced him to cast her.
“I was invited by Fred Astaire to accompany him to see ‘Hair’ which he couldn’t make ‘hide nor hair’ out of,” Coppola wrote. “You were in it, and I remember your beautiful singing voice.”
“The Godfather,” which celebrated its 50th anniversary in 2022, spurred two sequels, concluding with 1990’s “The Godfather: Part III.” Keaton, who portrayed Michael Coreleone’s (Al Pacino) wife Kay in all three films, reflected on what she believed was a box office disappointment of the third installment.
“When I saw it way back, it was like ‘Oh, I don’t know.’ It didn’t seem to do that well and the reviews weren’t great,” Keaton recalled amid the 2022 recut. “But Francis restructured the beginning and the end and man, I’m telling you it worked.”
Keaton’s co-star Pacino also has admitted that he was at first taken aback by the level of fame he reached following “The Godfather” films after “winning the lottery” of being cast in the lead.
“How did they give him ‘The Godfather’?” Pacino said during a NYT interview reflecting on the movie’s anniversary. “It just seemed so outrageous. Here I am, talking to somebody who I think is flipped out. I said, ‘What train am I on? OK. Humor the guy.’ And he wanted me to do Michael. I thought, OK, I’ll go along with this. I said, ‘Yes, Francis, good.’ You know how they talk to you when you’re slipping? They say, ‘Yes! Of course! Yes!’ But he wasn’t. It was the truth. And then I was given the part.”
He added, “‘The Godfather’ gave me a new identity that was hard for me to cope with. It’s a piece of work that I was so fortunate to be in. But it’s taken me a lifetime to accept it and move on. It’s not like I played Superman.”
Detroit rapper Veeze has announced his new album, Ganger. It’s the first full-length from Veeze since his 2019 debut mixtape, Navy Wavy. The new album will be out June 27. Check out the album cover below.
In the past few years, Veeze has built anticipation for his album with standout songs in the fast-expanding Detroit rap scene like “Law N Order” and “Let It Fly.” He’s also collaborated frequently with local stars like Babyface Ray and G.T., as well as appearing on songs by Lil Yachty, Lil Baby, and Pooh Shiesty. Veeze recently collaborated with Lil Uzi Vert on “GOMD (Remix).”
Dillion Dilligaf has found success as a stand-up comedian. His droll delivery allows everyone to understand his perspective and laugh. He founded the “Blue Zone Comedy Tour,” which featured only handicapped comics, to great fanfare and reviews. Director Mark Savage gives Dilligaf his first starring role in the action-thriller Hell’s Coming For You. The film was co-written by Savage and Dilligaf, alongside co-star Tim Chizmar, so Dilligaf’s performance should feel like a natural fit, right?
Hell’s Coming For You begins with the retirement party of Liam Hell (Dillion Dilligaf). All his associates are there, including best friend Eddie (Tim Chizmar), Kandy (Trista Robinson), Sinn (Nicholas Cvjekovich), and Dwarf (Jeremiah Benjamin). Also in attendance is Liam’s neighbor from across the street, Amanda (Tonya Todd), and her son Zach (Legend Adams). As a welcoming gesture, Amanda baked Liam a pie. The two have a lovely chat and immediately form a bond.
Unfortunately, Amanda’s current boyfriend is unhappy that the pie was not for him. He leaves her the bruises to prove it. This is when we learn that Liam just retired from being the world’s number one assassin. As such, Amanda’s significant other is no longer an issue. But Liam’s life gets turned upside when he receives news that the murder of his wife was actually a setup. Discovering who paid for it and why sends Liam and Eddie down a vicious and bloody path of revenge.
Hell’s Coming For You is a lot of fun, but it has some issues. The dialogue often flat-out remarks its themes or messaging. Instead of showing how lonely Liam’s been without his wife, it is stated several times over. Instead of witnessing the love and care she puts into baking her goods and then seeing Liam light up when eating it, we are just told how good the pie is. This makes a portion of what happens before the vendetta kicks in dull.
“…sends Liam and Eddie down a vicious and bloody path of revenge.”
The other flaw is one scene in particular. Eddie hires sex workers for Liam as part of the festivities. This sequence goes on for far too long and offers nothing to further the plot of any character arc. Excising it would get the runtime right to 90 minutes and allow the story to flow much smoother.
With that out of the way, Hell’s Coming For You is an enjoyable experience. Savage builds up each action beat wonderfully. Liam and Eddie shoot, bash, punch, and explode through plenty of killers-for-hire. In one scene, Liam goes in after a giant of a man. The camera stays outside, and only the bloodied fingers are seen as they are tossed in the tussle. Was this done to save money? Maybe. Is the sound design good enough to sell the action without needing to see it? Absolutely. But, unsurprisingly, the climatic battle is the highlight. Every trick Eddie and Liam know is used, and the variety of deaths is satisfying.
In his first leading role, Dilligaf is good. When talking to Zach, the man is calm and caring. When bringing the pain, he delights in the mayhem. While a few line deliveries aren’t believable, this is a solid start, and with some more experience, Dilligaf could become a reliable presence. Chizmar is terrific, bringing a great sense of fun and sweetness to Eddie. Tonya Todd brings the required amount of warmth and humanity to her part to make audiences understand why Liam is enticed.
Hell’s Coming For You is not perfect, but it is fun. The action is well-executed, and the filmmakers use a nice variety to keep things engaging. The lead characters are interesting, especially the dynamic between Liam and Eddie. Plus, the ending concludes on the only note a plot like this could, adding a certain tinge of pathos to the whole thing.
“Manitoba experienced one of the worst tragedies this province has ever seen,” said Lanette Siragusa, CEO of Shared Health, which runs the Winnipeg hospital where nine of the 10 total surviving crash victims are being treated, during a news conference on Friday.
UPDATED:Spotify’s exclusive podcast deal with Prince Harry and Meghan, the Duchess of Sussex, has come to an end — with the couple having delivered just one show under the agreement.
Spotify and Archewell Audio, the couple’s podcast production shingle, said Thursday in a joint statement that they are ending their pact. “Spotify and Archewell Audio have mutually agreed to part ways and are proud of the series we made together,” the companies said.
According to a source familiar with the situation, Prince Harry and Meghan Markle have wanted to move away from exclusive Spotify distribution to find a new home for their audio projects.
Another source said that Spotify expected more content from Archewell Audio — noting that nearly three years after inking the pact, they have delivered only one series, essentially putting the overall deal in limbo. That show is Markle’s “Archetypes,” in which she deconstructs the history of societal stereotypes about women, which premiered in August 2022 and hit No. 1 on the company’s charts in multiple countries.
Archewell Audio first inked the exclusive podcast pact with Spotify in late 2020, in a deal worth about $20 million, the Wall Street Journal reported. The company’s mission is “producing programming that uplifts and entertains audiences around the world,” as well as “spotlights diverse perspectives and voices” and “builds community through shared experience, narratives and values.”
Spotify earlier this month announced it was laying off 200 employees as part of a restructuring of its podcast operations. That came after the exit earlier in the year of Dawn Ostroff, chief content and advertising business officer, who previously headed Spotify’s podcast business. The company’s podcast reorg is aimed at increasing “our focus on the millions of creators building audiences and businesses on our platform,” Sahar Elhabashi, Spotify’s VP, head of podcast business, wrote in a note to staffers. She added that Spotify remains “committed to original programming.”
The looming end of Archewell Audio’s pact with Spotify is unrelated to the podcast group’s restructuring, a source familiar with the situation said.
Earlier Friday at the Annecy International Animation Film Festival, before a screening of their new feature “Elemental,” Pixar unveiled an episode of “Win or Lose,” the first long-form streaming series from the legendary animation studio that’s set to debut on Disney+ this December. And the episode did much to ease fears that Pixar has somehow lost its touch; it is easily one of the most artful, exciting and emotionally incisive things the studio has done. And the wait for more episodes just became downright excruciating.
“Win or Lose,” originally announced during Disney’s investors’ day presentation in December 2020, hinges around an ingenious, incredibly identifiable concept – a middle school softball team is headed toward the championship and each 20-minute episode is told from the point of view of one of the players, their parents or the adults who play with them, like the umpire or coach (voiced by Will Forte). It’s less “Rashomon” and more like “Legends of the Dark Knight,” a beloved episode of “The New Batman Adventures,” where several encounters with Batman are told through shifting emotional perspectives and animation styles.
Creators Carrie Hobson and Michael Yates were inspired to make the show by their time on “Toy Story 4” and their different interpretations of meetings that they both shared.
Before the episode began, Hobson and Yates, appearing alongside producer David Lally, explained that this wouldn’t be the first episode – it would be somewhere in the middle. Instead of exploring one of the kids, it would be from the point-of-view of player Rochelle’s mom, Vanessa (voiced by Rosa Salazar of “Alita: Battle Angel” fame). Vanessa is dealing with a lot – she’s a single mom with a young baby and a stressful job. But she’s so proud of young Rochelle and the team (the Pickles).
Recently, under the creative stewardship of Pete Docter, Pixar movies have taken risks both in terms of their narrative (with many focusing on super personal, specific stories) and their aesthetic (the anime-influenced “Turning Red,” borrowing from stop-motion for “Luca” and the muscular ‘80s action movie hardware of “Lightyear”) and “Win or Lose” pushes beyond almost anything that we’ve ever seen from the studio. It’s beyond stylized, absorbing a number of different touchstones but ultimately synthesizing those influences in a way that feels singularly new and very refreshing.
Vanessa, for instance, is addicted to social media and her likes appear as squishy little hearts that pop up all around her, to prop her up or help her on the go. When she loses her job at a local grocery store and instead offers ride shares, she zips around town; when she’s upset she levitates, with lightning bolts coursing around her. And all of this is well and good and cool but the show also has an extremely sturdy emotional core, with an ending that is lump-in-your-throat moving (this is pretty special considering we hadn’t seen any of the other episodes and were only now meeting the characters).
The disappointing box office of “Lightyear” and the so-so tracking on “Elemental” have left some to question if Pixar’s restlessly creative spirit still inhabits the roomy halls of its Emeryville, Campus. And “Win or Lose” feels like a direct response to those doubting the studio’s commitment to creativity and experimentation. Not only is this just as good as anything else that Pixar has produced (and, remember, they brought us “WALL•E” and “Ratatouille”) but it’s also a bold step forward and is hopefully an indication of where things are headed for the company.
Wes Anderson will once again transport viewers to a delightfully eccentric world in “Asteroid City,” which hits theaters June 23 following a successful premiere at Cannes Film Festival in May.
The high-wattage film tells a story of a desert tourist trap that was once the site of an asteroid landing, and which also doubles as the location of an annual camp for “stargazers and space cadets.” Scarlett Johansson, Tom Hanks, Jason Schwartzman, Matt Dillon, Maya Hawke, Steve Carell, Jeffrey Wright, Ed Norton, Margot Robbie and Jeff Goldblum are among the starry ensemble cast.
Anderson’s distinct visual and narrative style is apparent more than ever in his newest project, spawning dozens of new collector’s items inspired by his most beloved films — from “The Grand Budapest Hotel” to the “The Royal Tenenbaums.”
Ahead of his new film, check out our ultimate Wes Anderson gift guide to shop from this year.
‘Asteroid City’
The meta nature of “Asteroid City” is highlighted in this companion book, which is the literal screenplay of Wes Anderson’s upcoming film but also the fictional screenplay if the “hypothetical play” from which the film is adapted. Like the movie, the screenplay centers on the annual Junior Stargazer/Space Cadet convention in a fictional desert town, which is spectacularly disrupted by world-changing events.
‘Do Not Detonate’
“Asteroid City” is accompanied by yet another companion book in this collection of work that inspired Wes Anderson’s newest film. The book compiles new and classic writing on mid-century cinema and the American West, in addition to an exclusive interview with Anderson in which the director details how each piece influenced the characters, stories and settings in the film.
A No 1 bestseller since coming out in 2020, this captivating photo book is a celebration of the stunning visual imagery Wes Anderson is known for. Part travel guide and part visual adventure, the stunning book includes more than 200 of the most beautiful, most idiosyncratic and most “Wes Anderson-esque” destinations across the globe, known for their quirky landscapes and cinematic aesthetics. Anderson helped Koval in curating the destinations featured on every page, accompanied by the very real, human stories behind each photo.
Take some notes from Franklin Bean this fall by making your very own alcoholic cider. While this DIY kit won’t be able to ferment and brew hard cider in mere seconds like the magical machine in “Fantastic Mr. Fox,” it comes pretty close. This all-in-one kit includes all the equipment needed to make up to three batches of delicious, bubbly alcoholic cider at home, in addition to ten, non twist-off bottles. Pair it with this sleek carafe to rival Mr. Bean’s cider jugs.
While it may be hard to recreate the delicious cream-filled pastries, called the Courtesan au Chocolat, from “The Grand Budapest Hotel,” you can still take a trip to the whimsical Mendl’s Bakery with this classic pink mug.
No one pulls off a red beret better than Rushmore Academy’s Max Fischer, the eccentric 15 year-old at the center of Anderson’s beloved 1998 film. Whether you want to dress up as the Jason Schwartzman character for Halloween or feel like adding a Parisian twist to your style, you can’t go wrong with a classic red beret.
Ben Stiller’s Chas Tenenbaum is practically a walking advertisement for Adidas’s classic tracksuit. After ditching his black-tie office wear for something more conducive to running away from danger (or, as Anderson as said in interviews, from “sadness”), Chas decides to rock a matching red set throughout the entirety of the film, serving as the inspiration for countless Halloween costumes in the years since the film’s 2001 premiere.
‘Bottle Rocket’ The Criterion Collection Blu-ray (34% Off)
Courtesy of Amazon Courtesy of Amazon
Any Wes Anderson fan has a special place in their heart for “Bottle Rocket,” the acclaimed director’s first feature film from 1996, starring Owen and Luke Wilson. This Criterion Collection Blu-Ray set features commentary by Anderson and co-writer Owen Wilson, in addition to a documentary about the making of “Bottle Rocket,” directed by filmmaker Barry Braverman. Plus, the box set includes 11 deleted scenes and a booklet featuring an essay by executive producer James L. Brooks.
‘The Royal Tenenbaums’ Zebra Print Wallpaper (25% Off)
Aside from Ben Stiller’s red tracksuit and Gwenyth Paltrow’s fur coat, one of the most memorable visual elements from Anderson’s 2001 film are the heavily decorated walls. Now, you can bring the stunning “Royal Tenenbaums” aesthetic into your own home with this stick-and-peel version of Margot Tenenbaum’s distinct zebra-printed wallpaper.
The Anderson soundtrack is known for injecting the perfect mood-setting French track whether it’s the Yves Montand “Rue St. Vincent” mix tape Max plays in “Rushmore,” Joe Dassin’s “Les Champs-Elysees” from “The Darjeeling Limited” or Francoise Hardy’s “Le temps de l’amour” in the delightful “Moonrise Kingdom” beach dance off. So for the super in-the-know why not purchase a record with the track for your favorite Anderson obsessive. And if you can find a vinyl print of “The Young Person’s Guide to the Orchestra” (also featured in “Moonrise Kingdom”) please let me know!
Perfect for Roald Dahl and Wes Anderson fans alike, this comprehensive coffee table book dives into the making of Anderson’s adaptation of Dahl’s beloved children’s book from 1970. The Oscar-nominated film is a departure from Anderson’s usual style of filmmaking, which is why the behind-the-scenes look featured in these pages, from set photos to shot analyses, are so intriguing for big Anderson fans.
The essence of a few of his beloved films — “Bottle Rocket,” “Rushmore,” “The Royal Tenenbaums,” “The Life Aquatic With Steve Zissou,” “The Darjeeling Limited,” “Fantastic Mr. Fox” and “Moonrise Kingdom” — is captured in this New York Times bestselling overview. The book is written by film and television critic Matt Zoller Seitz with an introduction by Michael Chabon.
Tennis prodigy Richie Tenenabaum is one of Wes Anderson’s most likable protagonists, an impressive feat considering his many vices and troubling obsession with his adopted step-sister Margot, played by Gwyneth Paltrow. But it’s almost impossible for his quirky demeanor to not elicit empathy from anyone who saw the 2001 film. Any vinyl-spinning “Royal Tenenbaums” fan will adore this cork mat turntable slider, featuring a black-and-white silhouette of the memorable Luke Wilson character, clad in his signature sunglasses and headband. Those without a record player may prefer this cozy Tenenbaum crewneck sweatshirt, perfect for colder weather.
‘The Grand Budapest Hotel: The Illustrated Screenplay’
“The Grand Budapest Hotel” is peak Wes Anderson, filled to the brim with rich colors and arresting visuals that transport viewers to the fictional country of Zubrowka in the 1930s where an unassuming concierge boy Gustave becomes a prime suspect in a mysterious murder. Any film lover will appreciate this visual screenplay, which takes readers through every action-packed scene line by line, accompanied by the best shots and images from the film.
These minimalist prints are a perfect edition to any office or reading room, offering unique visual takes on the movie posters of Anderson’s most famous films such as “The Life Aquatic With Steve Zissou,” “Moonrise Kingdom” and “Rushmore,” among others. Approximately 16″ by 12″, you can curate an entire Wes Anderson-themed wall or disperse them in different areas of the house. Plus, the nine-poster set is currently half off for a limited time.
While you can’t book a room at the gorgeous hotel at the center of Wes Anderson’s 2014 film, you can at least collect some of the stylish props featured in the fictional set. Jot down grocery lists and notes in style with this pink notepad, inspired by the highly stylized imagery in “The Grand Budapest Hotel.”
The most overlooked Marvel Studios film is finally joining the MCU library on Disney+.
Of the 32 movies Marvel Studios has released since 2008, this comic book blockbuster has largely been forgotten and often seen as detached from the greater MCU.
However, new developments – and the film’s Disney+ arrival – may change that.
The Incredible Hulk is Disney+ Bound
Marvel
The official Twitter account for Disney+ announced that The Incredible Hulk is coming to Disney+ on Friday, June 16.
The 2008 film stars Edward Norton as Bruce Banner, Tim Roth as Emil Blonsky, Liv Tyler as Betty Ross, and William Hurt as Thaddeus Ross.
Directed by Louis Leterrier, The Incredible Hulk premiered in theaters a little more than a month after Iron Man; but it failed to enjoy the same critical and financial success.
The Hulk returned to the MCU in 2012’s TheAvengers where Mark Ruffalo replaced Norton as Bruce Banner and has continued to play the character in the years since.
As a result, Norton’s The Incredible Hulk has largely been forgotten and is rarely mentioned in MCU conversation. But now, that appears to be changing.
From The Incredible Hulk to World War Hulk?
In recent years, Marvel Studios has slowly been reminding audiences of events from The Incredible Hulk, but with Ruffalo’s version inserted over Edward Norton’s.
The fact that The Incredible Hulk is coming to Disney+ on Friday could be seen as evidence of the rights changing hands, even though that has yet to be confirmed.
Overall, with more Hulk storytelling on the horizon – and the possibility of a Hulk film – the oft-forgot The Incredible Hulk is becoming more relevant to the MCU all the time.
The Incredible Hulk drops on Disney+ on Friday, June 16.
After several weeks of rumors, The Flash director Andy Muschietti will direct the DCU Batman reboot, The Brave and the Bold, with the filmmaker being chosen by DC Studios co-CEO James Gunn for the job. The hiring of Muschietti has been confirmed via Variety, with Gunn and his fellow DC Studios co-CEO Peter Safran releasing a joint statement in which they heap praise on the director and his affinity for bringing the world of DC to life.
“We saw ‘The Flash’; even before taking the reins at DC Studios, and knew we were in the hands of not only a visionary director but a massive DC fan. It’s a magnificent film – funny, emotional, thrilling – and Andy’s affinity and passion for these characters and this world just resonates through every frame. So, when it came time to find a director for ‘The Brave and the Bold,’ there was really only one choice. Luckily, Andy said yes. Barbara signed on to produce with us and we were on our way. They’re an extraordinary team, and we couldn’t have better or more inspiring partners as we embark on this thrilling new adventure in the DCU.”
It was previously reported that a deal would not be struck between Muschietti and DC Studios until the ongoing Writers Guild of America strike had come to an end, but clearly this was not the case, with The Flash director now on board to helm the Batman and Robin outing for Gunn and Safran’s recalibrated DCU.
MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
The Brave and the Bold will come as part of the DCU’s Chapter One: Gods and Monsters, which will begin with the Superman reboot, Superman: Legacy, in 2025. The rest of the chapter will include the likes of The Authority, Supergirl: Woman of Tomorrow, a Swamp Thing movie, and much more.
James Gunn has since revealed that The Brave and the Bold will be based on the acclaimed run by writer Grant Morrison, with Gunn revealing that Morrison will be “exceptionally influential” on the DCU as a whole. “This is the introduction of the DCU’s Batman…” Gunn said regarding the direction of the Batman project. “This is the story of Damian Wayne, who is Batman’s actual son who we didn’t know existed for the first eight to 10 years of his life. He was raised as a little murderer and assassin. He’s a little son of a bitch. He’s my favorite Robin. It’s based on the Grant Morrison comic book’s run, which is one of my favorite Batman runs, and we are putting that all together right now.”
Before bringing his directorial eye to a solo Batman outing in The Brave and the Bold, Andy Muschietti will first unleash the DC multiverse in The Flash. Worlds will collide in The Flash when the superhero uses his powers to travel back in time to change the events of the past. However, when his attempt to save his family inadvertently alters the future, he becomes trapped in an alternate reality.
The Flash should give audiences some idea of what The Brave and the Bold will look like under the direction of Muschietti, with the DC outing dealing with not one, but two versions of The Dark Knight. Led by Ezra Miller as Barry Allen aka The Flash, the story will include both Ben Affleck and Michael Keaton as alternate versions of Batman, alongside Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú, and Kiersey Clemons.
The Flash is scheduled to land in theaters from today.
Meta is rolling back for Instagram and Facebook in countries that no longer deem the pandemic to be a national emergency. The policy will no longer apply in the US, along with some other territories.
Last July, Meta for its opinion on the misinformation policy after noting that the pandemic had “evolved.” It , but in April, the group suggested that Meta should keep removing false claims about COVID-19 that are “likely to directly contribute to the risk of imminent and significant physical harm.” The Oversight Board also told the company to “reassess” the types of pandemic claims that it removes under the policy.
In addition, the advisory group suggested that Meta make preparations ahead of the World Health Organization nixing the emergency status of COVID-19 “to protect freedom of expression and other human rights in these new circumstances.” The WHO lifted its COVID-19 emergency designation in May and Meta has now made its response to the Oversight Board’s recommendations.
“We will take a more tailored approach to our COVID-19 misinformation rules consistent with the Board’s guidance and our existing policies. In countries that have a COVID-19 public health emergency declaration, we will continue to remove content for violating our COVID-19 misinformation policies given the risk of imminent physical harm,” Meta . “We are consulting with health experts to understand which claims and categories of misinformation could continue to pose this risk. Our COVID-19 misinformation rules will no longer be in effect globally as the global public health emergency declaration that triggered those rules has been lifted.”
Soon after the onset of the pandemic, social media platforms faced pressure to combat COVID-19 misinformation that people were spreading, such as inaccurate claims about vaccines. Many — including Meta, Twitter and YouTube — established policies to tackle COVID-19 falsehoods.
Those rules have evolved over time. For instance, in May 2021, Meta said it would that COVID-19 was “man-made.” As the Oversight Board noted last year, Meta removed 27 million Facebook and Instagram posts that contained COVID-19 misinformation between March 2020 and July 2022.
Twitter its COVID-19 misinformation policy in November, not long after Elon Musk took over the company and . Meanwhile, YouTube recently updated its misinformation policy to containing 2020 election denialism.
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Sometimes you have so many projects going on you need a way to keep track of all of them.
During the strike, my goal has been to get organized. Just assess what stage every project is in and prepare for whatever I need to do next. It’s helping me clear my head and think of the next thing I’ve been working on.
Staying organized as a filmmaker is a crucial aspect of the filmmaking process, as it can make or break the success of a project. With so many moving parts and variables to consider, it can be easy to lose track of important details and end up with a disorganized mess.
And that mess can get you into trouble with deadlines and on set.
In this comprehensive guide, we’ll explore various aspects of the organization for filmmakers, touching on everything from pre-production to post-production and providing valuable tips to help you streamline your workflow and achieve success in your filmmaking endeavors.
Staying organized in pre-production is crucial for the success of any project, whether it’s a film, a play, a product launch, or any other creative endeavor.
Develop a System for Cataloging Projects
One of the core elements of staying organized as a filmmaker is the proper cataloging of your projects. This involves creating a system where you can easily access and search for any files, raw footage, or relevant documents related to a specific project.
A well-organized catalog will allow you to navigate through years of work efficiently and can make a significant difference in your overall productivity.
Use Detailed Project Folders and Naming Conventions
This is such a funny thing to recommend, but I can tell you my life got markedly better when I developed a filing system for all my drafts and projects. I always send out the right ones and I always know where they are saved and backed up.
A major component of cataloging is creating a folder structure that is easy to understand and navigate. This includes using a consistent naming convention for your files and organizing them into relevant folders. For example, you might create folders for raw footage, final edits, sound files, and scripts.
By keeping your project files organized and properly named, you can save valuable time and avoid confusion when trying to locate specific assets.
This saves time and sanity, trust me.
Create a Project Timeline and Schedule
Before diving into production, it’s crucial to develop a clear timeline and schedule for your project. This should include milestones, deadlines, and a detailed breakdown of tasks and responsibilities for each team member.
By having a well-defined schedule in place, you can ensure that everyone is on the same page and working towards a common goal.
Don’t commit to things you don’t have the time for, and don’t chase ideas that maybe weigh you down. Step back, step away, work on other things, and schedule the rest for later.
‘The Squid and The Whale’Credit: Samuel Goldwyn Films
Production Organization
When you are on the job, you need to be organized. It’s a professional expectation.
Director’s Responsibilities
A director’s organization is essential for a smooth production process. They should have a thorough understanding of the script, shot list, overheads, storyboards, and script breakdowns.
These materials should be readily available for reference on set, ensuring that any confusion can be quickly resolved and the director can effectively communicate their vision to the cast and crew.
Crew Organization and Equipment
Proper organization and maintenance of equipment are vital for a smooth production process. This involves keeping gear organized, easily accessible, and separated by department (e.g., lighting, camera, art). By ensuring that equipment is properly stored and maintained, you can minimize delays and ensure that your production runs as efficiently as possible.
Assign an Assistant Director (A.D.)
Having an A.D. on set can significantly improve organization and overall production efficiency. An A.D. is responsible for managing the set and keeping everything on schedule, which can be invaluable when it comes to staying on track and meeting deadlines.
If you’re working on a smaller project without the budget for a dedicated A.D., consider assigning someone on your team to take on this role.
‘M3gan’Credit: Universal Pictures
Post-Production Organization
Whether you’re a UPM or editor or post-house manager, organization is crucial to your job and to make things go smoothly on and off set.
Maintain a Clear Editing Workflow
In post-production, organization is just as important as it is during pre-production and production. Develop a clear workflow for editing, including a system for organizing and naming your files and folders. This will help you avoid confusion and ensure that your final edit comes together smoothly and efficiently.
Backup and Archive Your Files
Backing up and archiving your files is essential for protecting your work and maintaining an organized post-production process. Make sure you have multiple copies of your project files, stored in different locations or on different devices. Additionally, consider using cloud storage services for an extra layer of protection and easy access to your files from anywhere.
I have lost so many files, don’t be me. Back them up.
‘American Beauty’Credit: DreamWorks Pictures
General Tips for Staying Organized as a Filmmaker
Use Project Management Tools
Project management tools can be incredibly helpful in keeping your filmmaking projects organized and on track. Tools such as Trello, Asana, or Airtable can help you manage your tasks, assign responsibilities, and keep track of deadlines, ensuring that your entire team stays on the same page.
Communicate Regularly with Your Team
Open and consistent communication is essential for maintaining organization throughout the filmmaking process. Regular check-ins and updates with your team can help ensure that everyone is on track and working towards the same goals.
Utilize tools like Slack or Google Hangouts to facilitate communication and keep your team connected.
Continuously Improve Your Organization Skills
Staying organized as a filmmaker is an ongoing process that requires continuous improvement and adaptation. Regularly assess your organization strategies and look for opportunities to streamline your workflow and enhance productivity.
By staying proactive and committed to organization, you can set yourself up for success in your filmmaking career.
‘The Conformist’Credit: Paramount Pictures
Summing Up How Do You Stay Organized As a Filmmaker?
Organization is a critical aspect of filmmaking, with the potential to significantly impact the success of your projects. By implementing these tips and strategies, you can improve your organizational skills and enjoy a more efficient, productive filmmaking process.
Remember, staying organized is an ongoing journey, so continually assess your methods and look for ways to refine and enhance your workflow.
Not long after Bravo canceled Queer Eye for the Straight Guy in 2007, the show’s creators thought their showbiz careers were over. Despite masterminding one of the 21st century’s seminal reality TV hits, David Collins, Rob Eric and Michael Williams — the team behind Scout Productions, founded in 1994 as a scrappy indie film outfit based out of Boston — were struggling to find another hit now that they’d been rebranded as unscripted lifestyle guys. “In 2004, we won an Oscar for The Fog of War and an Emmy for Queer Eye,” Collins says. “Two years after that, we could not get arrested. There was a moment where I was like, ‘All right, am I going to become a barista?’ ”
Today, Scout is one of the most prolific nonfiction development companies in Hollywood — all thanks to a call Collins received in 2016 from WME agent Nir Caspi looking to shop titles that would satisfy Netflix’s burgeoning foray into reality programming. Scout had wanted to reboot Queer Eye, but traditional networks couldn’t overlook the series’ Bravo ties. When the new, gentler, less coastal Queer Eye premiered on the streaming service in February 2018, it was an immediate smash, resuscitating Scout’s pedigree and helping to make Netflix the reality hub it has become.
In the half-decade since, Scout has produced and sold a ghost-hunting show executive produced by Kristen Stewart (slated to debut on Hulu this fall); the Max streetwear competition show The Hype; Netflix’s MerPeople; Peacock’s Amy Poehler-produced The Gentle Art of Swedish Death Cleaning; Roku’s forthcoming Charlie Puth series; a Barney documentary; the canceled-too-soon ballroom pageant Legendary; what Eric calls an “unbelievably fabulous” competition involving Janelle Monáe; and a four-part exposé about the celebrity-friendly megachurch Hillsong that recently aired on FX.
For Collins, that last one is personal. He’d been a Hillsong member for a year and a half when a Sunday school teacher refused to acknowledge that the twin daughters he shares with Williams have two dads. Collins left the church immediately, and Scout soon partnered with Vanity Fair on what became The Secrets of Hillsong. Collins convinced disgraced pastor Carl Lentz — who famously befriended Justin Bieber and was a face of the organization until Lentz’s children’s nanny accused him of recurring sexual abuse — to participate in the documentary. It’s the first time he’s spoken publicly about his downfall. Without the restored success of Queer Eye, that might never have happened.
From left: The Hype judges Beth “Bephie” Birkett, Offset, B.GoldNYC designer Winston Bartholomew Holder III and Marni Senofonte.
COURTESY OF MAX
Figuring out what Queer Eye should look like in a world at once culturally enlightened and politically rancorous was key. When the original version bowed 20 years ago, gay visibility marked a new frontier, buoyed by Will & Grace, Ellen DeGeneres and the term “metrosexual,” which granted straight men permission to care about their appearance. The Fab Five — Ted Allen, Kyan Douglas, Thom Filicia, Carson Kressley and Jai Rodriguez — were portrayed as superheroes, swooping in with quips and commodities to transform the lives of hapless slobs. By 2018, the show required a softer ethos. It needed to reflect utmost civility in an increasingly uncivil America.
“When we partnered with Scout to bring Queer Eye back to life, we were a little nervous,” says David George, CEO of ITV America, which signed an overall deal with Scout before the revival premiered. “It’s such a legendary show, and we did not want to be the ones that messed up the legacy of the franchise. Since day one, it’s been an incredible ride with David, Michael and Rob, and they have been fantastic collaborators.”
The original Queer Eye for the Straight Guy team during the fifth season on Bravo, in 2007. Ted Allen, Thom Filicia and Jai Rodriguez.
Bravo / Virginia Sherwood / Courtesy Everett Collection
By design, the fresh Fab Five — Bobby Berk, Karamo Brown, Tan France, Antoni Porowski and Jonathan Van Ness — present themselves as sweeter and more vulnerable. Queer Eye‘s subjects are more varied, too, like a transgender man recovering from top surgery in season two and a former prisoner who works with the recently incarcerated in the seventh season, which came out in May.
The original Queer Eye for the Straight Guy team during the fifth season on Bravo, in 2007. Left: Subject Larry Roth Sr. is flanked by Kyan Douglas and Carson Kressley.
Bravo / Virginia Sherwood / Courtesy Everett Collection
Berk recalls shooting the pilot episode, which starred a 57-year-old divorcé with lupus. “As we were building him up, you could see the walls coming down around him,” Berk says of forgoing wisecracks in favor of being supportive. “The original format was absolutely, 1,000 percent perfect for the time, but this is how our show evolves.”
Though Scout hasn’t produced a theatrical film since 2008, Williams and Collins reference their early indie work as mainstays in everything they do. They first met on Little Man Tate (1991), and watching director Jodie Foster in action taught Williams and Collins that sets could be harmonious, hierarchy-free havens. “It was all women and gay men in her world, and she created such a safe, loving, fun, passionate family,” Collins says.
Along the way, their lawyer, John Sloss, introduced Williams and Collins to revered documentarian Errol Morris, which led to Scout making Morris’ 1999 film Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. and his IFC interview series First Person. IFC and Bravo shared a parent company at the time, and when Bravo was looking to reach younger audiences, Scout pitched a premise to the only TV producers they knew. After Williams and Collins witnessed a flock of gay men offering advice to a man who’d been publicly excoriated for his attire by his wife, an idea was born. And it was an overnight sensation: The Queer Eye for the Straight Guy premiere became the most watched show in Bravo history.
From left: Scout Productions owners David Collins, Michael
Williams and Rob Eric have nine projects running or in the works
Emma McIntyre/Getty Images
Subsequent seasons’ ratings steadily dipped. Other shows Scout sold — ABC Family’s Knock First, Sundance Channel’s Big Ideas for a Small Planet and Logo’s Sordid Lives: The Series, to name a few forgettable examples — largely fizzled, too, which makes their comeback story all the more impressive.
When the Queer Eye revival launched, marriage equality had been legalized and pop culture was queerer than ever, but daily news cycles were mired in the hateful rhetoric that Donald Trump’s presidency inspired. Queer Eye, focused on stories about coming together despite differences, felt like an antidote. And with the ongoing spike in anti-trans legislation targeting health care and other rights, its messages of harmony are especially resonant.
“My plea for fans, especially our straight allies, is to take that parasocial connection that you feel when you watch us on TV into your own life,” Van Ness says. “It’s incumbent upon all of us to have these conversations. Do it with your friends, your family, your auntie and uncle that you’ve cut off like a dead foot because you see them on Facebook saying X, Y or Z.”
Seven seasons later, Queer Eye is the longest-running reality show on Netflix, and among the longest-running of all its series. While a renewal hasn’t been announced, with the Fab Five producing their own programs and products, one can’t help but wonder about the franchise’s future. “We passed the torch from the original guys to the new guys,” Collins says. “Who knows, maybe they’ll pass the torch in the future. Anything’s possible.”
Max’s ballroom culture series Legendary lasted three seasons. 5 From left: Janelle Monáe is working with Scout on a competition show; Barney is the subject of a Scout documentary; Amy Poehler narrates The Gentle Art of Swedish Death Cleaning on Peacock.
Courtesy of MAX
This story first appeared in the June 14 issue of The Hollywood Reporter magazine. Click here to subscribe.
We all have that one movie that’s downloaded and ready to go for every plane ride or road trip, right? Well mine’s Center Stage, and lucky for you it was just added to Hulu at the start of this month. The 2000 film, directed by Nicholas Hytner, showcases a group of students in their first year at the prestigious American Ballet Academy in New York and the drama that ensues. Center Stage primarily follows Jody Sawyer (Amanda Schull), a dancer with beautiful stage presence but subpar technique, as she strives to keep up with the other students. We also meet Eva Rodriguez (Zoe Saldana), an incredible ballerina with a slight attitude problem, and Maureen (Susan May Pratt), the company’s most prized student who struggles with the pressure of it. From student-teacher relations and body-shaming directors, to drunk nights salsa dancing and hungover days in detention, this film demonstrates the hookups, breakups and mental health struggles that take place behind the curtain. And how could I forget about the fun dance numbers?!
Joy Behar has a suggestion for Donald Trump’s next set of Pride merchandise: change what the G stands for in his typical “Make America Great Again” slogan.
Behar’s recommendation came on Friday’s episode of “The View,” as she and her co-hosts discussed recent conservative outrage over President Biden’s administration displaying a large Pride flag on the balcony of the White House. One member of congress even tried to claim it violated U.S. flag code, which it did not.
But, as the discussion continued, host Alyssa Farah Griffin offered a blunt reminder to those who were upset about the flag.
“Donald Trump sells Pride merch on his website,” she said, pulling up an image of two items up for sale on Trump’s website. One was a T-shirt with the Pride flag design that says “LGBTQ for Trump,” while the other was Trump’s typical red hat that said “Make America Great Again,” but the words were stitched in rainbow colors.
And though the women were pleasantly surprised to learn this, Behar thought the hats could’ve been done better.
“I would like to see those red hats say ‘Make America Gay Again,’” she joked. “Then we’re talking, Donald Trump!”
Farah Griffin also reminded everyone that, in addition to selling Pride merch, the twice-indicted former president also regularly supported LGBTQ groups and events.
“He actually was going to light up the White House as the Pride flag but opted not to, because it was during the George Floyd protests,” she said. “He’s held a Pride event; the first event he did after announcing his candidacy was speak to the Log Cabin Republicans, a LGBTQ+ Republican group.”
She added, “Not a defense of Donald Trump, just, maybe talk to your king if you’ve got, like, an issue with it.”
Teddy Riley, Jeff Lynne, Liz Rose, Glen Ballard and Tim Rice were also honored at the 2023 ceremony.
Post Malone performs onstage at the 2023 Songwriters Hall of Fame Induction and Awards Gala at the New York Marriott Marquis on June 15, 2023 in New York City.
Theo Wargo/Getty Images for Songwriters Hall of Fame
The Songwriters Hall of Fame inducted a new class into its ranks on Thursday (June 15) at the Marriot Marquis Hotel in New York City. The 52nd annual edition of the SHOF saw rock-pop savant Jeff Lynne, Latin pop queen Gloria Estefan, hit country songwriter Liz Rose, genre-hopping songwriter Glen Ballard and new jack swing godfather Teddy Riley enter the Hall’s ranks. Legendary musical theater lyricist Tim Rice (who has worked with everyone from Elton John to Andrew Lloyd Webber to Alan Menken) received the organization’s highest honor, the Johnny Mercer Award, while rapper-singer Post Malone was honored with the Hal David Starlight Award, which is given out to rising songwriting talents making industry waves.
Sade and Snoop Dogg – who were initially announced as part of the SHOF’s class of 2023 – both chose to defer their inductions until 2024.
The evening opened with SHOF president/CEO Linda Moran hailing the organization’s many supporters and presenting CBS broadcasting mainstay Anthony Mason with the Patron of the Arts Award. “It’s the best party in the music business,” Mason said of the SHOF induction dinner. “The world is crazy right now. It seems sometimes all we have is music.”
The Songwriters Hall of Fame has inducted about 400 members over its half century of existence. A songwriter whose catalog has made a significant commercial and artistic impact is eligible for induction 20 years after their first song was commercially released.
From induction speeches to performances to family members joining inductees on stage, here are some of the best moments from the 2023 Songwriters Hall of Fame ceremony.
Joe Walsh ‘Indicts’ Jeff Lynne, Blasts AI
Image Credit: Theo Wargo/Getty Images for Songwriters Hall of Fame
After a ripping version of ELO’s “Don’t Bring Me Down,” Joe Walsh did the honors of inducting Jeff Lynne into the SHOF. “Last week I overheard my wife on the phone saying that Jeff Lynne was being indicted in New York. So here we are, the People vs. Jeff Lynne,” he said with a smile. Walsh, whose most recent album, Analog Man, was produced by Lynne, also took a moment to dismiss the artificial intelligence chatter. “We’re all being told the future is AI and soon hits will be shot from a digital brain at the speed of sound, and all of us will become obsolete.” Pausing, the Eagles/James Gang legend stuck out his tongue and made a raspberries sound worthy of a Merrie Melodies cartoon. “You can’t program the gift of a songwriter or the soul of an artist.”
Liz Rose Recounts Her Unlikely Rise
Image Credit: L. Busacca/Getty Images for Songwriters Hall of Fame
After a gorgeous rendition of “Girl Crush” from her co-writers Lori McKenna and Hillary Lindsey and a teary take on “White Horse” from her daughter Caitlin, Liz Rose took the stage and thanked all those who helped her begin her songwriting career as a 37-year-old working mom. “I’m speechless – literally, I did not write a speech,” Rose jokes. “And I refuse to use AI.” Of her risk-taking, unlikely path, she also recalled the days when she began penning tunes with a 14-year-old by the name of Taylor Swift. “Everyone laughed at me and said, ‘What are you doing?’ But I said, ‘I don’t know, but it’s the easiest thing I do all week. It’s my third write of the day and we write a song in an hour and a half.’ Why wouldn’t I do that?”
Heather Headley Delivers the Night’s Most Moving Performance for Tim Rice
Before EGOT winner Tim Rice was feted with the Johnny Mercer Award, the SHOF’s highest honor, some of his musical theater friends stopped by for truly next-level performances. Heather Headley – who won a Tony performing in Broadway Aida, which he did the lyrics for – left the room breathless with a version of Rice’s first song to become a hit, “I Don’t Know How To Love Him” from Jesus Christ Superstar. After that, Headley was joined by Michael Maliakel (former lead in Broadway’s Aladdin) for a duet on “A Whole New World” with Alan Menken on piano. That’s quite the flex. Even in the company of legends, there are few people who could nab an EGOT winner like Menken as a musical accompanist.
Siedah Garrett Duets With ‘MJ: The Musical’ Lead Before Inducting Glen Ballard
Glen Ballard – who has co-written smashes with Alanis Morissette and Wilson Phillips as well as hits for Michael Jackson and Josh Groban – received a loving induction from Siedah Garrett. Before she hailed her “Man in the Mirror” co-writer as “my all-time favorite collaborator,” she duetted on the classic with Miles Frost, the lead in Broadway’s MJ: The Musical. After that, Ballard took to the ivories and sang a quirky, charming medley of his various hits, which came with a warning: “You’re gonna find out why we need artists when I go over here and play songs.”
Teddy Riley, Keith Sweat and Doug E. Fresh Put on a ‘Show’
Image Credit: Gary Gershoff/Getty Images for Songwriters Hall of Fame
You could feel the camaraderie when Teddy Riley – a child prodigy who set out to make music and inadvertently created a new genre, new jack swing – was inducted into the SHOF by his longtime friends Keith Sweat and Doug E. Fresh. Fresh, the “Human Beat Box,” recalled how they would skip school to play music at Riley’s mom’s house in Harlem. “Most of us write out of our experiences, and sometimes we get messages,” Fresh said of creative inspiration striking. “Teddy was one of those guys who got messages – he was a special guy from around the neighborhood who had that gift.” Riley, who began playing guitar, piano and drums at age five, says music was how “I freed myself to all the things going on in Harlem; that was my escape.” While the excessively humble Riley opined that the audience probably didn’t know his songs, he had the whole room dancing and singing along as Riley, Sweat and Fresh ran down a catalog of new jack swing and hip-hop classics he was involved in, including Fresh’s “The Show,” Sweat’s “I Want Her,” Blackstreet’s “No Diggity” and Wreckx-n-Effect’s “Rump Shaker.”
Post Malone Suits Up, Strums Acoustic ‘Stoney’ Song
Image Credit: Theo Wargo/Getty Images for Songwriters Hall of Fame
Post Malone might’ve been trying to out-humble Riley while accepting the Hal David Starlight Award, which the SHOF gives to young songwriters (previous recipients include Drake, Taylor Swift, Halsey and Lil Nas X).
“There’s so much inspiration and love for music in this room, it’s overwhelming. Everyone in here loves music. It’s their life, heart and soul and it’s the same for me. It’s so epic to come up here and be honored for this award tonight,” Malone said. “Excuse my French, it’s so f—ing awesome to be able to sing these songs and have people relate to them, help them through hard times and celebrate through good times. I’m so grateful and I’m terrible at public speaking but I love you guys. Thanks mommy and daddy and Jody [Gerson] and my fiancé and my beautiful baby, she just turned one year old.”
After that, Posty took off his suit jacket, donned a backward-facing cap and delivered a stripped-down version of “Feeling Whitney” from his debut, Stoney. “I’m sorry I played the song no one knows,” he quipped.
Gloria Estefan (And Her Grandson) Bring the Night to a Boisterous End
Image Credit: Theo Wargo/Getty Images for Songwriters Hall of Fame
Valerie Simpson (of songwriting duo Ashford & Simpson) inducted Gloria Estefan into the SHOF, noting that she was the first Latino woman to enter the organization’s ranks. Estefan – who already has a Presidential Medal of Freedom, the Kennedy Center Honors and three Grammys – made it clear that SHOF induction was “a big one for me.” And to that end, she made it a family affair. She shared how her mother sang a Cuban bolero to her as an infant (“[it was] the only way my mother could get a diaper on me”) and that she runs new songs by her sister, Becky, for the “cry test”: “Unless you shed tears,” she said to Becky, “They have not completed their mission.”
The Latin pop GOAT performed a medley of her touching ballads and boisterous dance numbers, from “Words Get in the Way” and “Don’t Wanna Lose You” to “Let’s Get Loud” (which she co-wrote and gave to Jennifer Lopez) and “Rhythm Is Gonna Get You.” For the lattermost, she was joined by husband of 48 years and Miami Sound Machine bandmate, Emilio Estefan, as well as her grandson, Sasha Estefan-Coppola, who duetted with her on the freestyle classic and ended the night on an energetic high note.
Finely and Quinn Mulligan are twin brothers who never thought they would make a film about the stock market. Yet here they are, two years removed from the GameStop short squeeze, making a film about that incident and stocks. But Apes Together Strong is more than a story about a few Redditors becoming rich overnight. The Mulligans seek to tell a larger narrative of how struggling working and middle-class “apes” took down Wall Street. The film frames the Apes’ battle with Hedge Funds as a modern David vs. Goliath, serving as a thesis statement on the corruption of Wall Street in the 21st century.
“Apes,” defined by the film, are regular people trying to break into the stock market. An Ape can come from any walk of life, perspective, or even political affiliation. Yet, all Apes have one thing in common, they, inspired by Rise of the Planet of the Apes, recognize the strength of unity. Apes Together Strong highlights the financial struggles of these Apes and, most of all, how they took to Youtube, Reddit, and memes to strike back at an amoral stock market.
While discussing the Apes individually, the filmmakers share the “basic sh*t” of trading stocks to provide the context within the overall Game Stop story. We’re given a quick rundown on stock lingo, ranging from standard Economic terms to Internet-enthused “diamond hands” and “YOLO.” Then the filmmakers ran the gamut on how a rag-tag group of Apes took GameStop and AMC to stock market legends.
“…how a rag-tag group of Apes took GameStop and AMC to stock market legends…”
The documentaryhas several meta moments with the filmmakers. The film opens with the Mulligans overtly discussing what makes a good documentary and commenting to the audience about misconceptions within the stock market. The bits between complex stock jargon are boastfully cheesy but always serve a larger purpose in explaining the more technical aspects of the GameStop debacle, such as what a “short squeeze” actually is. Despite the tons of information, Apes Together Strong never shies away from the inspirational and delivers a powerful call to action in the closing moments. The balance of information to inspiration throughout is among its most palpable attributes.
Finely and Quinn Mulligan discuss the need for change within the current market and the importance of regulation within the Economy. The brothers make compelling arguments for how without such change, everyday people will be the ones to suffer. In the broad context of the GameStop short squeeze, Apes Together Strong does an excellent job of diving into the information needed to achieve such a massive economic revolution. However, due to the focus on data and terminology, the filmmakers sometimes lose track of the personal narrative within the Internet-influenced war between GameStop v. Wallstreet.
So much of Apes Together Strong bridges the gap between economic doctrine and the average viewer, or Ape as they call it. The film features analysts, Youtubers, and Apes discussing how this moment in trading history changed their lives and inspired them to take back the markets. Despite the comprehensive discussion of Reddit and meme influence on GameStop’s rise, there are few examples, sometimes failing to capture the meme lord energy or Reddit-savviness being discussed and prominently featured in GameStop: Rise of the Players. Due to the lack of immersion in the Ape community, this often feels like a finance doc with a few fun moments rather than the story of Apes who conquered Wall Street. Still, the documentary provides ample information on the inner workings of the modern-day market and, most of all, a railing cry for future Apes hoping to take down some one-percenters.
However, according to a report, the six-week event to determine the continent’s most elite sex performers was plagued with issues from the start.
‘The situation has gotten out of control. It’s chaos. More than that: it’s turned into a horror film,’ said Selva Lapiedra, Spain‘s representative, according to Marca.com.
Despite initial reports that Scandinavian authorities had recognised the event as an official sport, they have since clarified this isn’t the case and that an application by the event’s organiser to do so was rejected.
But that did not deter Dragan Bratic who owns a number of strip clubs in the Jönköping area of Sweden, and who is understood to have set up the event to be live streamed over the internet to paying viewers.
Furious adult film stars have walked out of the European Sex Championships, declaring the event ‘chaos’ that has ‘turned into a horror film’. It was set to see a total of 20 contestants compete in a variety or erotically charged activities in Sweden, but it has ended in chaos
British performer Lara Lee told the Star she was set to fly out to Sweden on Monday but pulled out at the last minute
Britain’s entry to the European Sex Championships, Barbie Sins, had had to pull out due to health reasons
Ukraine’s entrant Talia Mint posted a video from the house before she left, saying that she and the other performers had been excited to be part of the ‘project’, but said the organiser refused to pay her and that they did not check a contestant for HIV
Selva Lapiedra, Spain’s representative, said: ‘The situation has gotten out of control. It’s chaos. More than that: it’s turned into a horror film’
Several of the performers announced in a video posted by an organisation representing Balkan sex workers that they were stepping back from the event
However, it was reported last week that Britain’s representative — OnlyFans model Barbie Sins — has pulled out of the event citing ‘health complications’.
The remaining 19 competitors hail from across the continent, including Spain, Italy, France, Ukraine, Russia, Finland, Croatia.
Participants in the championship were going to be assessed across 16 categories in ’bouts’ to be held over six weeks.
These included their skills in seduction and massage, their proficiency in sex acts, the appearance of their sexual organs, how many times they can orgasm, and their ‘artistry’ and ‘creativity’ in creating a seductive pose.
Bouts were reportedly set to last between 45 minutes to an hour for each category.
According to The Daily Star, female entrants were set to earn themselves £690 for each day they stayed in the venue, while men would earn £345-a-day.
The publication say the winner was promised £860,000.
However, it emerged this week that the contestants left the house over claims that Bratic had failed to pay them so far for their participation.
Lara Lee was another Brit who the Star said was set to fly out to Sweden on Monday, possibly as a replacement for Barbie Sins – but she pulled out at the last minute.
‘I learnt that people had been leaving over claims they weren’t getting paid so I decided to swerve it,’ she told the newspaper.
‘It’s sad because it was a great idea but it sounds like it’s been so badly organised and has ended up a bit of a shambles.’
Ukraine’s entrant Talia Mint posted a video from the house before she left, saying that she and the other performers had been excited to be part of the ‘project’.
However, the 24-year-old uploaded a video to her social media which appeared to show Bratic trying to grab her phone as she left the house.
She claimed in the clip that one competitor had been allowed to enter the competition without being tested for HIV.
Colombian model Anllela Sagra, who was set to participate
Finland was set to be represented by Ann Joy (pictured)
Adult star Molly Devon is representing Russia in the competition
‘He refuses to pay me for my time and my work and now you have all the information about this project, I want to get compensation,’ she said.
She later said in a video that the police were called, but could not enter the property as they did not have a warrant. Now, Mint claims she is taking legal action against Bratic and the The Swedish Sex Federation.
It is believed that the organiser’s financial issues came about because not enough people were paying to watch the live-streams of the event.
Other performers have also confirmed they have left the event, with the official representative group for sex workers from the Balkan region announcing the decision on Twitter on Friday, citing ‘insurmountable issues’.
‘The cameras were non-operational during the first two days of the competition, which hindered the proper execution and documentation of the event,’ Dobra Druzba (Good Friendship) said in a thread on Twitter.
‘We were constantly faced with overloading issues, making it challenging for us to perform effectively. The absence of representatives from the Swedish Sex Federation at the event greatly disappointed us. Also, there was no security personnel present, responsible for ensuring our safety and health.’
Italian Eric Capitano (left) and Romanian Mugur (right) contestants
The group said there was no running hot water which ‘impeded basic hygiene,’ and that the sleeping quarters were ‘unsuitable as they did not allow for rest due to the early dawn in Sweden and the lack of blinds or roller shutters.’
The group also hit back at claims from the organisers that the contestants acted unprofessionally, accusing them of drinking.
‘Alcohol was provided by the Swedish Sex Federation and we have written correspondence confirming that there was a so-called ‘party night’ included in the competition program,’ they said.
In a statement published by The Daily Star, the Swedish Sex Federation admitted that the situation was ‘not good’ and hit out at the contestants.
‘They all enjoyed all those popularity and took advantage of our organisation to promote themselves and now they ask for something that is not possible to fulfil.
‘We are really devastated with the current situation and we do not have any idea how this will end,’ the statement sad.
Organiser Bratic told the publication that the performers were not invited as porn actors, but as ‘contestants in the First European Sex Championship’ and accused them of not acting like professional athletes.
The competition is being held at an undisclosed location (pictured) in Gothenburg in south western Sweden. A group representing some of the performers said there was no running hot water which ‘impeded basic hygiene,’ and that the sleeping quarters were ‘unsuitable as they did not allow for rest due to the early dawn in Sweden and the lack of blinds or roller shutters’
‘They ignored the rules of the competition and the Swedish Sex Federation and behaved unprofessionally and to the detriment of the federation,’ he said.
‘They even brought alcohol to the house and they did not act like sportsmen at all. All contestants are therefore disqualified from the competition.’
He bemoaned to The Star that none brought flags of their countries (except for Croatia), and that his organisation had to purchase them.
MailOnline has reached out to the Swedish Sex Federation for comment, but is yet to receive a response as of 3pm, June 16.
More changes in the Grammy rules: The Recording Academy announced today that the number of nominees in the four top categories (album, song and record of the year, and best new artist) will be reduced to eight for the 2024 awards.
And you’ve got to be human to take home a trophy.
The nominee reduction reverses a 2021 decision that raised the count to 10 per category. The latest change will be in effect for the 66th annual awards scheduled for early 2024. In 2018, the academy increased the nominee count from five to eight.
In another, unrelated move, the Academy addressed the use of artificial intelligence in music, reaffirming that “only human creators are eligible to be submitted for consideration for, nominated for, or win a Grammy Award.” A work that contains no human authorship, the Academy said, is not eligible in any categories. Music that contains some AI material remains eligible, so long as actual human authorship is “meaningful” and significant.
Also today, the Academy announced that two categories – producer of the year, nonclassical, and songwriter of the year, nonclassical – will be added to the all-genre “general” field, allowing all academy voters to cast votes in those categories.
The new rules come just days after the Academy added three new categories for the 66th Annual Grammy Awards including Best African Music Performance, Best Alternative Jazz Album and Best Pop Dance Recording.
When ND Stevenson, co-producer of Nimona, discusses the fiery titular character of Netflix’s upcoming animated film, he uses descriptors rare for a lead: angry, punky, chubby, weird, off-putting. “She’s this teen girl who wants to murder people,” he says of the charmingly chaotic shape-shifter, aspiring villain and self-dubbed sidekick.
She also happens to be his avatar and alter-ego. Releasing June 30 on Netflix, Nimona is an animated feature based on Stevenson’s popular webcomic-turned-graphic novel, which garnered an Eisner Award and a National Book Award nomination. Onscreen, the story follows a feared shape-shifter (voiced by Chloë Grace Moretz) after she comes to the aid of Lord Ballister Boldheart (Riz Ahmed), a knight accused of a crime.
For Stevenson, Nimona is a “power fantasy,” but one who is equally wounded and scared, desperate to be seen, held and loved. “She is a character with a lot of pain and anger at her heart, and that’s why she exists,” he says. “When I made her, I was doing it for my own catharsis.”
ND Stevenson, the creator of Nimona.
Ricky Middlesworth/Netflix
That personal journey started in 2012 when Stevenson began self-publishing Nimona online. Enrolled at the Maryland Institute College of Art, he was studying illustration amid the popularity of Cartoon Network series Adventure Time and Steven Universe. The two shows, which have been credited with spurring a generation of animated series at the network, were upending traditional TV animation with their age- and LGBTQ-inclusive narratives, and then-unconventional hiring of webcomics artists.
While still an undergraduate, Stevenson says his early goal was to go from webcomics to working on Adventure Time, and so he began releasing Nimona’s pages on Tumblr. “At the time, I had just left the church, and so leaving the church for me was not just leaving Christianity as a faith, although I did that as well,” Stevenson tells The Hollywood Reporter. “It was also leaving behind the evangelical conservative upbringing that I had been raised with.
“Being out in the world as a young adult, I was very quickly questioning everything I have been taught my entire life,” he continues. “That’s a very disorienting thing to do, to try to figure out what you believe, just based on your perception of the world and what’s going on.”
It’s a theme that runs throughout the comic and onscreen, where Nimona calls upon audiences to consider it again and again within the towering walls of a medieval-like future society — a scientifically and technologically “utopian” city that is equally militarized and surveilled. But it also winds through characters like Ballister, an outcasted gay knight who is navigating a system that once raised and championed him, before a single event sees them swiftly mark him as an enemy.
Ambrosius Goldenloin (Eugene Lee Yang) in Nimona.
Netflix
That includes fellow knight, and Ballister’s former boyfriend, Lord Ambrosius Goldenloin (Eugene Lee Yang), a character who was adapted as East Asian for the film, but who Stevenson says was intentionally written in his comic as the embodiment of white privilege.
“It’s convenient to cast him in the role of the hero because he’s a white man with blond hair and classic good looks, and ‘You have everything we need for us to make this pitch — to sell this propaganda — of who the good guy is and who the bad guy is,’” Stevenson explains. “He’s a deeply flawed person who is clinging to his version of the world that he wants to be true, shutting everything out to the point of behaving villainously, whether he thinks that or not.”
Following a popular two-year run online, the Nimona webcomic would be published as a graphic novel in 2015, and much like its leading teenage shape-shifter, the book defied convention.
“When I was first making it as a webcomic, I didn’t have any age demographic in mind. I certainly wasn’t really thinking of it as a young adult comic because at the time that had a very specific context. The YA shelf was all paranormal teenage romance,” the creative recalls. “Of course, those labels have the meaning that we give them, so that’s what ended up happening. It ended up on that YA shelf, and it found an audience there who was maybe looking for something different.”
The story explores the kind of themes Stevenson, who served as the showrunner for the subversive animated reboot She-Ra and the Princesses of Power, has always been interested in: good versus evil, hero versus villain, light versus dark, and “the ways that that is not always what it seems to be.”
“It’s about who we really are versus who we think we are, who we are trying to be, and who we say we are,” the transmasculine and bi-gender creative says.
Nimona (Chloë Grace Moretz) shape-shifted into a gorilla and Ballister Boldheart (Riz Ahmed) on a train.
Netflix
In the decade since Nimona published online, the story has proven to be more relatable than even he anticipated. “Early on, I was getting so much of, ‘How do we relate to her if we’re not teen girls?’” he recalls of the beginning days of the film’s production, a time when Stevenson felt Nimona could be losing her leading status. “I think this, ‘The character is not relatable enough’ — this not white enough, not male enough, not hero’s-journey enough thing of, if it’s not that, people will get scared or not like it — is not true. All stories are universal, even if they represent something very specific, niche or personal.”
It was a story that almost didn’t make it to the screen. The film adaptation was shuttered in April 2021 following the closure of Blue Sky Studios as part of the Disney-Fox merger. It initially “felt like this tragic end of this journey,” Stevenson says. But members of Nimona’s original creative team refused to give up. They would launch their own studio — Shapeshifter Films — to finish the animated feature before Annapurna Pictures announced in April 2022 that the movie, which is co-directed by Nick Bruno and Troy Quane and written by Robert L. Baird and Lloyd Taylor, would release on Netflix.
“It was a weird time. It was an uncertain time, but it felt like Nimona as a character. There was that refusal to stay down, that sort of fuck-the-man, chaos energy, a spark that they refused to let go out,” Stevenson says. “Her fighting spirit was what carried that movie through. Everyone believed in her so much. No one was ready to stop. It feels like it reflects the plot of the comic — that it couldn’t kill her. It feels so punk rock. Most stories don’t end in that way, you know? But this one did.”
From left: Eugene Lee Yang, RuPaul, Indya Moore and Julio Torres.
Stefanie Keenan/Getty Images; Charles Sykes/Getty Images; Amy Sussman/Getty Images; Rob Kim/Getty Images
Now set to debut on the streamer June 30, the film will make history for its LGBTQ inclusion. Beyond having Yang, RuPaul, Indya Moore and Julio Torres among its voice cast, the story features a main character whose shape-shifting abilities — both visually and within the film’s dialogue — code her gender as fluid and trans.
The movie’s other hero, Ballister (whose last name went from Blackheart to Boldheart for the film), is a South Asian gay man and amputee who finds himself on the wrong end of a sword while trying to make an elite, historically exclusionary institution more representative. Holding that sword is his former partner, Ambrosius, who grapples with his own “heroic” identity within an institution he’s been unflinchingly faithful to — until it asks him to follow an order he’s not sure that he can carry out.
Like the comic, the film centers on an inclusive cast of characters, but similar to Stevenson’s own belief about the nature of storytelling, Nimona’s themes remain universal while never feeling heavy-handed. “We’re very different, but at the same time we’re the same, and we’re not alone,” Bruno said while speaking to one of Netflix film’s biggest messages during a press day. “That’s a message that not just Ballister says to Nimona, but we’re trying to say to the audience as well. Anybody who’s ever felt like an outsider, you’re not alone.”
Ambrosius Goldenloin behind a wall of knights in Nimona.
Netflix
Yet, as the film’s release approaches — more than a decade since the Nimona webcomic was published online — the story’s timeliness and relatability has surprised even Stevenson as a creative who loves boundary-pushing narratives. He points to a growing reactionary panic around American racial and LGBTQ communities as the same “sowing of fear, specifically by a small group of people,” that’s present within his story’s true villains.
“I don’t think that any of us expected the state of the world and current events to unfold exactly the way they have,” Stevenson admits. “I think that [Nimona] has always had this transness and gender fluidity at its heart, but there are lines that have new meaning now, even from the first time I heard them recorded.”
The timing of the Nimona’s release may now offer an extra narrative layer for some audiences, but when it comes to the comics, Stevenson maintains his choices around characters’ gender, race and sexuality — as well as the story’s commentary about identity, power, community, love and understanding — were always intentional. They’re creative decisions the film takes to heart, even within its visuals, which are frequently about juxtaposition and contrast, according to production designer Aidan Sugano.
Nimona in front of a digital billboard featuring wanted posters for Ballister Boldheart.
Netfix
“It’s classic princess fairy tale versus futuristic dystopia. It’s truth versus expectation, light versus dark,” he said of the movie’s visual design during an April press day. “We really wanted to make sure that the closer you got to something, the more that you saw and you understood of that thing.”
Those visual choices help elevate the most poignant metaphors of Nimona’s characters, including those around one of the comic and film’s main villains, someone who both characters and viewers might look at and instantly trust. Instead, they represent “mundane evil that we run into the most often in the world,” Stevenson says; the people who feel “the ends justify the means” in the name of perceived safety, and who don’t think too far beyond “this is my job and this is what I will do because this is how things are done.”
For other characters, Nimona’s most poignant metaphors shift and expand for the film adaptation, which went through various iterations in the years it took to get to the screen. Stevenson says the idea to take Goldenloin from white to Asian and adapt his arc in a slightly different direction was something Bruno and Quane proposed as part of their process, which invited Stevenson’s input more than his early run with the film, where he had various levels of engagement.
From left: Sir Thoddeus Sureblade (Beck Bennett) and Ambrosius Goldenloin (Eugene Lee Yang)
Netflix
“He is a pretty silly character in the comics. He’s a goofball, a dork. He’s also not a great person,” Stevenson says of Goldenloin. “The first thing he does is shoot Ballister’s arm off and refuse to apologize, and so they’ve had this terrible breakup. That’s what the comic is. It’s broken hearts and the refusal to apologize — a relationship that is almost beyond saving, it seems.”
The directors’ adaptation of Goldenloin results in the creation of a separate character, Sir Thoddeus Sureblade, who embodies the knight’s less desirable traits. Goldenloin then got a more complex narrative that still spoke to an underlying question Stevenson had while writing. That is, whether or not to lean on “something that makes things simpler” because it tells you what is right and wrong.
The final version of Goldenloin also ditched an early iteration’s jokes about Goldenloin’s hair, and “that he was even feminine in his presentation” — something that felt wrong to Stevenson. In the end, Yang’s character became an East Asian gay man treated as equally aspirational and complicated, with his relationship to Ahmed’s Ballister existing “onscreen in a positive way,” the Nimona creator says.
While the film’s storytelling is operating on multiple levels, when writing the original webcomic, Stevenson never felt it was a story that couldn’t be explored with kid audiences.
Ballister Boldheart and Nimona in Nimona.
Netflix
“I think [kids] are interested in the world beyond maybe what they’re supposed to see,” he continues. “And if you can do that in a responsible way that gives them a safe place to explore those things, I think it can be really profound.”
“Those lines are a little less clear than people think they are. With She-Ra, sometimes there would be concerns that they use the word insurgents, and are kids going to know what that is? No, probably not, but they’ll also probably be able to figure it out from context,” he says. “Overall, I just try to be truthful and try to — more than keeping it ‘appropriate’ — ask how you look at the world through the eyes of a lot of different people but include that point of view that makes it relatable to the audience.
Through talking with readers, then Nimona’s creative team and crew — who have shown their love for her “in every board panel” — and now viewers, Stevenson’s glimpsed some of that impact already. “I can’t describe how amazing it is to see her heal people through her own need for healing. I think that’s the power of her.”
Ballister Boldheart and Nimona in Netflix’s Nimona.
Netflix
How well the film adaptation is received — and then holds up amid Stevenson’s own desire to “make things that continue to stay relevant” — will be determined when Nimona debuts at the end of June. But regardless of the reception, his approach to story and character in Nimona is an approach the writer and artist is never going to give up. “I feel like I’m always trying to look at what I believe and figure out if it’s still what I believe,” he says, calling the act of self-assessment difficult ”and worth it” to do. “I’m never done with that, and I don’t feel like anyone should be.”
Looking ahead, the writer and artist is currently working on a middle-grade book, getting used to the energy of navigating the demands of his first big press circuit and, creatively, thinking about more storytelling in his own voice and work. There are tales that are “somewhat separate and somewhat the same” to Nimona he wants to explore, including narratives around queer families and parentage — ”the relationship between children and the people who raised them and how it affects queer people, even in an implicit way.”
Having explored relationships between queer characters on She-Ra, it’s something that “feels like a natural extension.” But it’s also groundbreaking territory in an industry that has still struggled to tell animated LGBTQ stories with the same fullness as either his TV show and now the adaptation of his film. Still, he’s excited about the possibilities Nimona presents for the future of storytelling in animated cinema, on the heels of other game-changers like Turning Red.
“The idea of what you want to see in stories can actually be a really hard question because it’s asking us — everybody — to imagine something other than what we’ve seen,” he says. “But what seeing something like Turning Red does is it turns on the light in the next room, so I can walk into that room. And the next room is still dark, but with each new film [like Nimona] that breaks the mold, you can go turn on the light and head toward it.”
Ballister Boldheart and Nimona in Netflix’s Nimona.
Netflix
In a way, it’s a kind of torch-passing that takes the pressure and fear away from being a “first,” a space Stevenson has frequently found his work in. Instead, he’s allowed to think more about the torch “that was handed to me” and how his stories can help push the boundaries for more innovative animated movies going forward.
“What’s cool about a torch is that once you have one, you can light another fire and it can go in all of these directions,” he says. “So I think the best possible thing is to just keep spreading that fire to as many rooms as you can.”
A version of this story first appeared in the June 14 issue of The Hollywood Reporter magazine. Click here to subscribe.
