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The Israeli spyware firm NSO Group destroyed the life of Hanan Elatr, the wife of murdered journalist Jamal Khashoggi, forcing her to live in fear and isolation, never able to safely return to, or even visit, her family in Egypt or have a normal life, according to a lawsuit filed Thursday.

The lawsuit, filed in the U.S. District Court in the Eastern District of Virginia where Elatr lives and works as she awaits approval of her request for political asylum, asserts that NSO infected her cellphone with the Pegasus software to spy on him. It asks for unspecified damages.

The lawsuit relies heavily on facts uncovered in 2021 by an international consortium of news outlets that included The Washington Post and was led by Paris-based Forbidden Stories that detailed Pegasus’s use against journalists, politicians and dissidents. The lawsuit also cites pioneering forensic work by Citizen Lab at the University of Toronto and Amnesty International’s Security Lab.

Efforts to reach NSO Group for comment were unsuccessful. NSO has said it developed the spyware to track criminals and terrorists, but reporting showed that it was often deployed against opposition political parties, human rights activists and even disloyal family members.

NSO Group’s former chief executive Shalev Hulio has previously denied that the company’s spyware was used to monitor Elatr’s phone or was linked to Khashoggi’s murder in Turkey. “It has nothing to do with this horrible murder,” he said of the spyware.

Elatr was a flight attendant for Emirates Airlines when she and Khashoggi became close, and he proposed to her in April 2018. By then he was a world-renowned critic of Saudi Crown Prince Mohammed bin Salman and had left Saudi Arabia and taken refuge in the United States, where he contributed columns to The Washington Post. He knew to be careful with his electronic devices, Elatr and other associates have said.

After Khashoggi’s October 2018 murder and dismemberment inside the Saudi Consulate in Istanbul, Elatr, now 54, was put under house arrest in Dubai, lost her job of 20 years and went into hiding for 17 months in the United States, living with acquaintances in Northern Virginia. She now works at a local hotel but tries to keep her identity hidden.

By spying on Elatr, the lawsuit alleges, NSO Group violated federal and Virginia anti-hacking laws that make it illegal to hack a cellphone or computer without legal authorization or the owner’s consent. Beyond that, the lawsuit says, NSO spyware “caused her immense harm, both through the tragic loss of her husband and through her own loss of safety, privacy, and autonomy, as well as the loss of her financial stability and career.”

“She lives in a state of constant hyper-vigilance, unable to safely participate in social activities, constantly looking over her shoulder,” the suit claims.

NSO Group faces several other lawsuits over the use of its spyware against journalists, lawyers and political activists in other countries. Facebook parent company Meta has sued NSO for allegedly hacking the WhatsApp app, which it also owns. Apple also has sued NSO.

In the WhatsApp case, NSO argued that it was immune from prosecution because it was acting on behalf of sovereign governments; the sale of its spyware must be approved by the Israeli Defense Ministry and is sold only to foreign governments. But the court rejected that position, and the U.S. Supreme Court refused to take up NSO’s appeal.

Hulio, who stepped down as CEO last year, also has asserted previously that the company vets the behavior of every potential client before approving a sale but that it does not know who its clients target with the spyware. That argument, however, is a contradictory one, said Annie E. Kouba, an attorney at the Motley Rice law firm that is representing Elatr. “It’s just not an argument they can have both ways,” she said.

The suit alleges that NSO was negligent in repeatedly selling its Pegasus spyware “to clients that were widely known to violate human rights and do harm to dissenters.”

A UAE agency put Pegasus spyware on phone of Jamal Khashoggi’s wife months before his murder, new forensics show

Several months after The Post published the Forbidden Stories series, the Biden administration added NSO Group to the Commerce Department’s Entity List, saying its operations were counter to American interests. The designation prohibited U.S. companies from exporting hardware or software of any kind to the company. Because NSO Group requires the prior approval of the Israeli Defense Ministry for its sales, the move was seen as an unusual rebuke to the Israeli government. But the lawsuit asserts that NSO still paid more than $1 million to public relations companies and law firms in the United States in 2022.

The CIA determined that Mohammed ordered Khashoggi’s murder, but the limits of the Biden administration’s willingness to act against Saudi Arabia, a long-standing ally and major supplier of oil, came in November 2022 when it ruled that Mohammed, as head of a foreign government, was immune from a lawsuit filed by another woman close to Khashoggi, his Turkish fiancée Hatice Cengiz.

Elatr’s suit is different, however, because she is targeting the company that made and sold the spyware, not the country that used it. Also, unlike Cengiz, she was married to Khashoggi in an Islamic ceremony in Virginia and had shared an apartment with him in Fairfax County in suburban Washington before his murder.

One December evening in 2021, Hanan learned definitively that NSO had hacked her cellphone. Bill Marczak, a cybersecurity expert at Citizen Lab who had been analyzing her devices, told her via Zoom that he not only had found traces of NSO spyware but that he could see that a human had typed in the name of a known NSO website used to infected devices.

The time stamps corresponded to the day and hour that United Arab Emirates authorities had detained Elatr at the Dubai airport and confiscated her devices after she arrived on a routine work flight.

Marczak could see, he told her, that someone in possession of her cellphone had made several mistakes typing in the website’s letters, then backspaced and typed them correctly.

Marczak said he could see her Android device trying to install Pegasus, but he could not determine whether the spyware had successfully infected the phone, which would enable Pegasus to steal its contents and turn on its microphone. But, he added, the UAE operator did not type the website address in a second time, which would be expected in the event of a failed first attempt.

“We found the smoking gun on her phone,” Marczak told her lawyer and a Washington Post reporter seated next to her.

Elatr was visibly shaken by the news. She gasped, covered her mouth and stared blankly at the table. “They got to him through me,” she said after a long pause.

She has been racked by guilt ever since, she says. She still does not socialize, avoids telling her co-workers much about herself and has not made any friends in the three years she has been trying to make a life in the United States.

“I hope to achieve justice for Jamal and for me,” Elatr said Thursday. “It did destroy my life. I’m the living victim.”

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“It’s all about serving the story and the characters, so we all work together to build that,” says VFX supervisor Stephan Fleet. “But its gotten bigger and crazier, and it continues to do so.”

The Boys follows a group of vigilantes, led by Billy Butcher (Karl Urban), who set out to take down corrupt superheroes, or Supes, especially Homelander (Antony Starr). In Season 3, the group is working for the Bureau of Superhero Affairs and apprehending problematic Supes, but their work changes as Butcher investigates the death of Soldier Boy (Jensen Ackles), one of the first Supes, in the hopes of finding something powerful enough to kill Homelander. “The concepts have gotten crazier [since season one],” says Fleet. “My relationship with Eric [Kripke] and the writers, and a lot of the crew, has grown so we have these shorthands where they’ll write to our strengths and we’ll do visual effects to their strengths.”

The season started off with one of Fleet’s favorite scenes, which he says was unprecedented. “Let’s not gloss over the fact that we shrunk a guy down and had him crawl into another man’s penis and then blow up from the inside out,” he says. “I don’t think there’s been another piece of film or television that’s done quite that. And I loved it, because again there’s a message to it, there’s a cultural message to that scene, and it starts the season off with a bang.” As a member of the LGBTQ+ community himself, Fleet says he felt like it had a deeper meaning. “I knew I succeeded when I went to a drag show in Toronto and they were playing it on the walls and everyone was talking about it.”

The biggest episode this season for visual effects was “Herogasm”, which Fleet says was a full team effort. “That one was one of the true combinations of stunts, special effects, visual effects, makeup, hair, wardrobe,” he says. “All of the departments coming together in simpatico to make that one.” With so many different superpowers, combined with the destruction that Soldier Boy brings, Fleet says it was an assortment of complicated effects. “It wasn’t like there’s just one big thing, there’s just so many things happening that it comes together… It was memorable, not only memorable for audiences, but very memorable to be there filming it. It was an adventure.”

Although “Herogasm” was a lot of work, the real challenge for Fleet was a scene where The Deep (Chace Crawford) eats a living octopus. “Incredibly complicated to put any kind of digital creature on a person in a close up that holds still and have people suspend their disbelief and be in the moment,” says Fleet. “I think we achieved that and I think we added humanity and character to the octopus without making it look like a cartoon. And it was really, really wonderful to see that come together and how the artists put that scene together, but it was really complicated to do.”

Click the video above to watch the full interview.

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“It’s all about serving the story and

Netflix is digging into old classics for a more thrilling future. The OTT platform is set to bring back a spine-chilling movie and turn it into a proper series. A project that will be handled by none other than David Fincher, who led to the success of a cult classic. It will reintroduce the hit story to a newer audience while adding to the platform’s ever-increasing list of thrillers.

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Fincher has already worked with Netflix before, creating shows like House of Cards, Mindhunter, Mank, Love Death and Robots. But the 1995 mystery thriller we are talking about not only brought success to him but also to its powerful star cast. It would ring some bells if we say it had Brad Pitt in it. And now, Fincher is in talks with Netflix to have a series made out of it.

How David Fincher will make a series out of this 1995 classic for Netflix

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When David Fincher joined hands with Brad Pitt and Morgan Freeman, we got a timeless thriller that is still loved by fans all over, Se7en. According to Giant Freakin Robot, the director is set to recreate his all-time classic movie. Now Netflix has taken sources from books, cases, or games to make shows, but a series like Bates Motel is one of the rare examples of turning a movie into a series.

Se7en was an instant box office hit back in 1995. Along with Pitt and Freeman, it casts Kevin Spacey, John Mc Ginley, Gwyneth Paltrow, etc. The crime thriller was written by Andrew Walker and revolved around detectives finding one smart and vicious serial killer who apparently kills victims based on seven deadly sins like gluttony, lust, greed, and joy. The detectives must find him and stop, but not before decoding the reasons for his killings.

The movie ends on an unsettling note, giving the killer what he wants and becoming a prime example of Fincher’s work. Though it is confirmed that the series of the movie is in talks, what else is there to know about it?

What we know about the upcoming show so far

Adaptation of a cult-classic would certainly require Fincher to stay true to the source while not being repetitive. A movie tells the entire story in hours while a series needs to continue and keep fans looped in through episodes.

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There is no announcement of the cast or whether the same plot will be used for the series. As of now, the director is set to release his net thriller called The Killer on the OTT platform in November.

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What are your thoughts on Se7en being made into a Netflix series? Share your thoughts in the comments.

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Netflix is digging into old classics for

Salman Khan will be seen in Tiger 3.

Salman Khan is currently filming Tiger 3. The actor will be seen with Katrina Kaif in the movie while Shah Rukh Khan is rumoured to have a cameo.

Salman Khan has been busy with the filming of Tiger 3. While the project is kept under tight wraps, a video of the actor performing stunts on rooftops is now going viral. Tiger 3 marks Salman’s return as the spy for the third time. He will reunite with Katrina Kaif and it is rumoured that Emraan Hashmi will be seen as the baddie in the movie.

While Yash Raj Films is keeping the film as secretive as possible, a video has been shared by Instant Bollywood and it shows Salman wrapping a daring stunt scene. In the video, the actor was seen returning to his vanity with his entourage. He walked on planks set between rooftops and waved at fans as he made his way back to his vanity. The actor was seen dressed in an all-black ensemble for the scene.

Tiger 3 is one of the most anticipated films of the year. While Salman, Katrina and Emraan are expected to be a part of the film, multiple reports have said that Shah Rukh Khan also has a pivotal cameo in the movie.

Earlier this month, E-Times reported that Shah Rukh Khan joined Salman Khan for Tiger 3 shoot in Madh Island. Reportedly, a set has been constructed as the superstars shoot for an action-packed sequence there. Tiger 3 is part of YRF Spy Universe and is the third film from the Tiger franchise after Ek Tha Tiger and Tiger Zinda Hai. Besides Salman Khan, Tiger 3 also stars Katrina Kaif as super-spy Zoya and Emraan Hashmi as the villain. It is scheduled to hit theatres this Diwali.

Meanwhile, fans are also waiting for Salman Khan and Shah Rukh Khan’s Tiger Vs Pathaan. While the film has not been officially announced as of now, earlier this year, it was reported that the movie is just an idea and is not happening anytime soon.

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Salman Khan will be seen in Tiger

In Jennifer Coolidge’s Variety Actors on Actors conversation with Jeremy Allen White, she proposes that Tanya return to “The White Lotus” as a seagull, so she can poke out the eyes of her evil husband Greg (Jon Gries). Haley Lu Richardson, who played Tanya’s assistant, Portia, weighs in on killing off Greg during this week’s “Just for Variety” podcast.

“Jon and I worked together in the first movie I ever did — when I was 17 — called ‘The Last Survivors,’” she recalls, adding, “I was the hero and he was the villain. I killed him at the end of the movie with a samurai sword.”

She says she’d like to re-create that moment in Season 3 of “The White Lotus,” which takes place in Thailand. “Portia is somewhere in Asia with a samurai sword and kills Greg,” she says, laughing.

Until “White Lotus,” Richardson was most known for her breakout performance in the 2017 indie drama, “Columbus,” followed by “Support the Girls,” “Unpregnant” and “After Yang.”

The “White Lotus” spotlight took some getting used to, especially when Portia was being criticized. “I just hadn’t been in that situation before, so I did get sad,” Richardson says. “There was probably the first couple of episodes where I was seeing some things and reactions to things with Portia and me that I was taking personally or I wasn’t fully sure how to take it or how to process it.”

She eventually came to realize that it was a good thing people were talking about the show in such detail. However, she adds, “The one thing that I thought was actually kind of unfair and warped was the people who were saying that she was awful or she was the real villain of the season.”

Richardson continued, “There’s no way that you can look at that young woman and be like, ‘She is the most awful one on this show.’ People who think that should go to therapy.’”

Warped Portia critics aside, Richardson is enjoying some of the perks of her newfound fame, like being invited to Miley Cyrus’ album release party, hosted by Gucci, in March. Richardson documented some of the experience when she posted a video on her Instagram of Cyrus dancing with Paris Hilton during the festivities to the hotel heiress’s song, “Stars Are Blind.”

She did have a brief conversation with the “Flowers” hitmaker. “I had probably 10 seconds to say my spiel to her, and I wanted to tell her that “Plastic Hearts” — that whole album! — got me through…just a low time. So I told her that, and I think I might have shed a tear.”

A longtime Jonas Brothers fan, Richardson did not ask Cyrus about dating Nick Jonas. Richardson laughed, “Miley is more to me than her brief time with Nicholas.”

You can listen to the full interview with Richardson above or find “Just for Variety“ wherever you download your favorite podcasts.

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In Jennifer Coolidge’s Variety Actors on Actors

Another Disney+ Marvel show has been delayed by the ongoing writers strike.

“Daredevil: Born Again”, an 18-episode series that will see the return of Charlie Cox as Matt Murdock/Daredevil, reprising the role that he played for three seasons on Netflix, has been paused until the end of the strike.

Matt Murdock/Daredevil

Photo: Marvel

Production on the show had continued, despite the halting of other Marvel series in solidarity with the strike. In recent weeks, however, the set had to be shut down due to picketing writers.

“Daredevil” now joins other Marvel properties such as “Thunderbolts” and “Blade” in pausing production.

Marvel Thunderbolts

Photo: Marvel

Joining The MCU

“Daredevil: Born Again” will be the second series centered on Daredevil, following the Marvel television series “Daredevil” which ran on Netflix from 2015-2018.

Although not technically part of the MCU, Daredevil was well received by fans, who were thrilled to see Charlie Cox reprise his role in both “Spider-Man: No Way Home” and “She-Hulk: Attorney at Law”.

Daredevil She-Hulk

Photo: Marvel

As production on “Born Again” began, Cox shared the joy he felt at returning to the character:

““Daredevil is such an amazing character. It’s been the great honor of my career to be offered that part and to be able to play him. I’ve had such fun with it. It’s changed my life irrevocably. And when the show came to an end, despite the disappointment of the journey ending, I felt like we’d done a good job, and we had an amazing time and we could only be grateful for what we’d had. To be invited back and starting again, almost, it feels a little bit like a dream. I

t feels too good to be true. I’m so excited about the future. I can’t wait to get on the set from the first day of the new show. I’m already starting to train. As you know, I’m already starting to make plans in terms of living and training and having conversations with the writers and all of those things. So it’s starting to feel very real.”

Source: Netflix

Who Is Back For “Born Again”?

Cox will be joined by fellow “Daredevil” alums John Bernthal as Frank Castle/Punisher and Vincent D’Onofrio as Wilson Fisk/Kingpin. The latter already brought his character into the MCU for 2021’s “Hawkeye”.

“Daredevil: Born Again” is expected to premiere on Disney+ in early 2024, although an exact date has not been specified.

Charlie Cox/Daredevil

Photo: Marvel

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

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Another Disney+ Marvel show

Are you a fan of mystery solving games? How about augmented reality? Well, the folks behind the award-winning The Dark Knight ARG campaign Why So Serious? are back with a brand new game, based on one of the most twisted places in the DC universe… Arkham Asylum.

Check out all the details for this amazing game in the official press release below!

 

The Arkham Asylum Files: Panic in Gotham City,

A Groundbreaking Augmented Reality (AR) Gaming Experience

AVAILABLE NOW

The next big thing in immersive at-home entertainment is here: an official DC-licensed “board game meets escape room” that comes to life in amazing augmented reality

LOS ANGELES, June 2, 2023 – Infinite Rabbit Holes, the team behind 2008’s award-winning The Dark Knight ARG campaign Why So Serious?, in partnership with Warner Bros. Discovery Global Consumer Products today announced the official launch of The Arkham Asylum Files:Panic in Gotham City, a first-of-its-kind game that seamlessly blends state-of-the-art AR technology with immersive storytelling. Players solve mysteries on the streets of Gotham City with DC’s Harley Quinn, Batman and The Joker. This epic new form of at-home entertainment combines the best elements of collaborative play to immerse players deep inside Batman’s universe in a way that revolutionizes game night.

The Arkham Asylum Files literally “comes to life,” overlaying digital content on physical elements using a free app on your iPhone or iPad. Hosted by The Joker, the easy to use app unlocks animated and live-action story scenes, 3D graphics, gameplay, an original score and other fun surprises. The box holds over one hundred game elements, including top secret Arkham Asylum files, classified Gotham City police evidence, custom game boards, mysterious artifacts, and collectibles. The adventure will also have expansion packs and downloadable content to extend The Arkham Asylum Files experience over time.

In Panic in Gotham City, there’s a new threat in town and it’s up to you to solve the mystery and save the day. The story unfolds over 7 action-packed chapters, which can be played separately or binged like your favorite television series in one session. Players join forces with HARLEY QUINN to unmask Gotham City’s most infamous villains by digging deep into their Arkham Asylum files. Working together with family and friends, players will build Gotham City and solve mind-bending puzzles to match wits with The Joker and unravel a brand-new, visually stunning epic story behind Arkham Asylum’s most notorious inmates.

Early reviews from players:

  • “Absolutely AMAZING! I loved everything – the art, the music, the story and the amazing way Gotham City comes to life through AR. My family hasn’t had this much fun playing together in such a long time.” –Dave B., Verified Reviewer
  • “Like nothing I’ve ever played before… the first game I’ve seen that really unlocks AR in a way that is critical to the way the game works, not just a gimmick. It really draws you into the game!” –Cricket, Verified Reviewer
  • “Finally! A game using technology that has me as equally engaged as my 11 year old grandson!” –MJ, Verified Reviewer

“When we set out to create The Arkham Asylum Files, we leveraged our team’s collective experience through games, theme parks and emerging technology to make a truly immersive at-home entertainment experience,” said Susan Bonds, CEO, Animal Repair Shop. “Our goal was to put audiences into the BATMAN universe to interact with characters they love that is native to this new storytelling platform. The design and high-quality production is incredible. Our team produced every aspect of the experience.”

“At our core, we’re storytellers. Our passion is creating next-level, groundbreaking ways to place audiences into exciting narratives,” said Alex Lieu, Chief Creative Officer of Animal Repair Shop. “As a huge fan of DC’s Super Heroes and pop-culture entertainment, being able to share the future of gameplay through the Batman universe has been a dream come true.”

Early investors and advisors in Infinite Rabbit Holes include John Martin, former CEO of Turner LLC and former CFO of Time Warner, and world-renowned puzzle expert and YouTuber Chris Ramsay. Chris stated “I solve games and puzzles for a living. At home experiences are the new economy and, with Infinite Rabbit Holes, the world has never experienced AR quite like this before.”
The Arkham Asylum Files: Panic in Gotham City is the first of three adventures in The Arkham Asylum series, offers hours of collaborative family fun for 1-6 players, ages 13 and up, and can be purchased HERE ($149 USD).

About Infinite Rabbit Holes

Infinite Rabbit Holes comes from Animal Repair Shop — a next-generation studio creating immersive, connected, and personal experiences that merge the latest technology with fun storytelling. The creative team has a deep history in cutting-edge entertainment, recognized globally for their innovative attractions at Disney, Universal and Warner Bros. theme parks, as well as the most awarded and well-known Alternate Reality Games (ARGs) of all time: WHY SO SERIOUS? (The Dark Knight), YEAR ZERO (Nine Inch Nails), FLYNN LIVES (Tron Legacy) and PAWN TAKES PAWN (Call of Duty: Black Ops Cold War), to name a few.

About Warner Bros. Discovery Global Consumer Products

Warner Bros. Discovery Global Consumer Products (WBDGCP),part of Warner Bros. Discovery Global Brands, Franchises, and Experiences, extends the company’s powerful portfolio of entertainment brands and franchises into the lives of fans around the world. WBDGCP partners with best-in-class licensees globally on award-winning toy, fashion, home décor and publishing programs inspired by the biggest franchises from Warner Bros.’ film, television, animation, and games studios, HBO, Discovery, DC, Cartoon Network, HGTV, Eurosport, Adult Swim, and more. With innovative global licensing and merchandising programs, retail initiatives, and promotional partnerships, WBDGCP is one of the leading licensing and retail merchandising organizations in the world.

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309 Are you a fan of mystery solving

After years of development, Virgin Galactic is finally ready to take paying customers. The company has confirmed that its first commercial spaceflight, Galactic 01, will launch between June 27th and June 30th. This inaugural mission will carry three people from Italy’s Air Force and National Research Council as they conduct microgravity research. Virgin had anticipated a late June start, but hadn’t committed to that window until now.

The company already has follow-up flights scheduled. Galactic 02 is expected to launch in early August and will carry a private crew. Virgin will fly on a monthly basis afterward, although details of future missions aren’t yet available. At least the first two flights will stream live through the company’s website.

Virgin conducted its last pre-commercial flight test, its fifth spaceflight of any kind, in late May. The company faced numerous delays and incidents getting to that point, however. The company completed its first SpaceShipTwo test flights in 2013, but paused its efforts after the deadly 2014 crash of VSS Enterprise. Flight testing didn’t resume until VSS Unity’s glide test at the end of 2016. The firm finally reached space in 2018, but had to wait until 2021 to complete its first fully crewed spaceflight with founder Richard Branson aboard. It pushed back commercial service multiple times due to varying factors, most recently delays in upgrading the VMS Eve “mothership” that carries SpaceShipTwo vehicles to their launch altitude.

The debut is important for Virgin’s business. Virgin has operated at a loss for years, losing more than $500 million just in 2022. Commercial service won’t recoup those investments quickly even at $450,000 per ticket, but it will give the company a significant source of revenue.

This isn’t the start of space tourism for Virgin. In that sense, it’s still trailing Blue Origin. Galactic 01 will put Virgin ahead of SpaceX, though, as that company’s Starship rocket has yet to reach space and isn’t expected to launch its first lunar tourist flights until late 2024 at the earliest. While Virgin is less ambitious than Elon Musk’s operation, it’s also achieving its goals sooner.

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After years of development, Virgin Galactic is

When the American Film Institute announced last year that it was merging AFI Docs, the organization’s annual Washington, D.C., documentary film festival, into the Los Angeles-based AFI Fest, Jamie Shor called Sky Sitney.

Shor, president of PR Collaborative, and Sitney, director of the film and media studies program at Georgetown, had both previously worked for AFI Docs. Shor’s publicity firm had done work for the former festival, previously known as Silverdocs, while Sitney served as AFI Docs festival director from 2005-2014.

“Sky and I were both thinking to ourselves that Washington, D.C., was not going to have a doc presence,” says Shor. “It collectively broke our hearts.”

So, the duo spent the last year and a half creating and building DC/Dox, a new nonfiction film festival based in the nation’s capital. The inaugural four-day festival kicks off on June 15 with the D.C. premiere of “Joan Baez: I Am a Noise.”

In all, 31 features and 21 shorts from eight countries will screen during DC/Dox in venues including the Martin Luther King Jr. Memorial Library, the National Archives’ William G. McGowan Theater and the Smithsonian National Portrait Gallery.

Four films will be making their world premiere at DC/Dox, including Dawn Porter’s “Deadlocked: How America Shaped the Supreme Court.” Part one of the four-part Showtime series will screen on June 18. Nick Capote’s “Between Life & Death: Terri Schiavo’s Story,” as well as two short docus — “Bubjan” and “The Silent Witness” — will also premiere at the fest.

DC/Dox will also showcase notable films that previously debuted at various festivals around the country including Penny Lane’s “Confessions of a Good Samaritan” (SXSW) and two docs from Peter Nicks — “Anthem” (Tribeca) and “Stephen Curry: Underrated” (Sundance).

Variety spoke with Shor and Sitney about DC/Dox’s evolution, lineup and eventual growth.

Last year, on June 15, you held a one-day DC/Dox event where you screened seven films. What was the purpose of that event?

Sitney: It was both an announcement and a proof of concept. The proof of concept was both internal and to funders. It was also an opportunity for us to go out into the world with our intention.

Shor: After we screened those seven docs, what we saw in that one night only was a real hunger from people for those kinds of films. We immediately came off of that event and looked at each other and said, “I think we can make a festival work.”

Film festivals are keeping many docus alive, so to speak, due to the current marketplace, which is not proving to be a place for social issue films. In creating the lineup for the fest, were you thinking about keeping films “alive”?

Sitney: When I was thinking about programming that was definitely part of a much broader area of things that I was considering. I was really thinking about the ways in which these films are representing the form. The way they are pushing up against the boundaries of documentary. We are consistently recalibrating and redefining what documentary is because of the filmmakers who are at the forefront of that and bringing us into uncomfortable places at times.

Shor: We have a couple of Sundance titles that have distribution and some that don’t. But every film that is in this festival has a reason to be here. We feel like this market adds some heft to filmmakers’ mission to get out to as wide an audience as possible.

This year you did not have an open call for submissions. So how did you find the 31 features and 21 shorts that make up the lineup?

Sitney: It was a combination of attending different festivals, certainly a lot of soliciting from already existing festival lineups and talking to distributors and producers about what’s coming around the pike.

Will submissions be open for the 2024 festival?

Shor: Yes.

In choosing the 31 feature docs that make up this year’s lineup, what were you looking for?

Sitney: We wanted to create a diverse slate that represents a lot of different approaches to the form. We also wanted to have different kinds of themes and subject matters being expressed. As a curator, I feel first and foremost that documentary is a parameter. It’s a boundary and I really think it’s interesting to explore that boundary and see the breadth and the scope of the things that can be contained within it. Over the years, we’ve all seen milestones in documentaries, like “The Act of Killing” or many, many years ago, “The Thin Blue Line.” Those films had the whole community talking and asking, is this a documentary or not? What are the ethical breaches if any? So, I like to be really expansive.

For a festival, 31 features is an intimate slate. Will you expand on that number next year for the 2024 edition of DC/DOX?

Sitney: When we think about growing the festival, it’s not about growing number of films. I really like an intimate slate. There’s a lot we can do for that slate. So, I think we’ll have to be very mindful as the years progress in terms of how much we want to expand the numbers.

Since the fest is in D.C., are you leaning towards politically minded fare?

Sitney: There’s no doubt that when there’s a film that’s dealing with politics or policy, this is a place where that film should be presented. We can create an incredible context for that film and are one-hundred percent leaning into that, but we don’t want that to be the entire program. D.C. as a living city is so much more than The Hill. It’s so much more than just politics. It’s incredibly dynamic and diverse with such rich arts and culture. So we want this festival to not just be something that represents a touristic view of Washington, D.C. We also want the community that’s here to feel that the festival resonates with the reality of the lived experience of being here.

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When the American Film Institute announced last

[Editor’s Note: The following review contains spoilers for all five episodes of “Black Mirror” Season 6.]

For a moment, it looked like “Black Mirror” Season 6 was going to douse its Trojan Horse in gasoline and drop a match. The first episode of the anthology series’ new, long-gestating batch puts Netflix in its sights from the outset, using the platform’s typeface and interface to tell a story about, well, faces. “Joan is Awful” is another in the show’s “ripped from the WIRED headlines” approach to technology. After a relatively long time away, its welcome back message boils down to the idea that anyone can be content, with or without their permission.

It’s a potent idea for a changing age, one now filled with massive sectors of the entertainment industry undergoing a work stoppage to fight the very trends that this episode puts forth as a potential reality. It’s also messy in its execution, true to recent “Black Mirror” form, capped off by twist that works better as a germ of an idea (and one that ultimately gives way to a sense of security, however false it may be).

Episode 2 “Loch Henry” might be the season’s high-water mark. It uses a pair of young documentary filmmakers (Myha’la Herrold and Samuel Blenkin) as proxies for the thorny questions around true crime storytelling. By the time it ends, “Loch Henry” has managed to implicate people and institutions at every level, especially those who seek to profit off the trauma of others.

The resulting message from these first two chapters: Netflix is not your friend, and the very platform you’re watching might be the biggest force for what the early seasons of the show warned against. That’s the kind of jolt to the system that a 12-year-old project needs at this point. What better use of creative capital could there be than to use your show about the dangers of tech than to remind everyone that the call is coming from inside the house?

Black Mirror. Josh Hartnett as David in Black Mirror. Cr. Nick Wall/Netflix © 2023.
Josh Hartnett in “Black Mirror”Nick Wall/Netflix

Yet, after that promising start, “Black Mirror” Season 6 takes its own nosedive. It doesn’t happen right away in “Beyond the Sea,” a feature-length domestic drama of jealousy and loss that takes place partially in space. Quieter stories aren’t at odds with this show’s goals, and Aaron Paul infuses the show with some patience and calm that a better episode would really benefit from. Yet the eventual, repetitive, obvious turns in the back half of the episode are in line with the artificial small-town rural environment it’s set out for itself. It’s cloaked in a vague sense of retrofuturism, the kind of grey area between living off the grid and being completely plugged in. “Black Mirror” starts the Season 6 slide toward gesturing at its most interesting ideas without really doing anything beyond surface level.

Maybe the most frustrating installment of Season 6 finds the show at its most and least inspired. “Mazey Day” is a return to the early-internet naivete of the mid-aughts, loaded with iPod Shuffles and songs that sound like they would have played in commercials for iPod Shuffles. Whether intentional or not, an episode following a desperate member of the papparazzi (Zazie Beetz) ends up being the most surface-level of them all, with flimsy roommates and coworkers and diner waiters who are simply cogs in a showbiz satire machine that barely runs. It’s what makes the last ten minutes of “Mazey Day,” an idea that feels like something Brooker’s been sitting on for a while, both an inspired addition to the show and a mark of desperation. A sliver of the show’s early out-of-nowhere excitement only shows how much of the episode before it is thumb-twiddling table-setting, a prelude to a disconnected showcase of a different kind of horror.

The further Season 6 goes, the more it stands out that the show still has different palettes and moods without anything feeling genuinely distinctive. The visual personality that’s peeked through in some of the show’s best episodes — the handheld immediacy of “White Bear,” the black-and-white dread of “Metalhead” — has been largely smoothed out here. The fragmented, Muse-fueled flashbacks in “Mazey Day” end up being a misdirecting gimmick. Even the stark, crackling film stock and long-lens searching of the opening minutes of “Demon 79” gives way to a generic 1970s-ness that signals more an exercise than an experiment.

Zazie Beetz Black Mirror Mazey Day Season 6
Zazie Beetz in “Black Mirror”Netflix

It doesn’t help that the rest of “Demon 79” drifts into a low-stakes execution of a high-stakes premise. “We are Lady Parts” breakout star Anjana Vasan gets across the terror and anxiety of someone tasked with saving the world, and Paapa Essiedu gets a little bit of freedom to play around with being a messenger from the spirit realm. Much of the rest seems locked into a familiar cat-and-mouse game of rules and technicalities and easy moralizing where the most interesting story is playing out entirely through newspaper headlines. Like “Mazey Day,” “Demon 79” makes the decision to leave its own sci-fi sandbox and veer into something less definable. It would be a drastic, thrilling revamp for the show if there was anything behind the effort apart from finding new spooky means to an end.

The throughline for the early “Black Mirror” seasons was a sense of dread or anxiety over a changing world. That could come from an artist trying to use cable news as a canvas or a vision of a society where people and fame were measurable commodities or where your memories could be both indexed and deleted with a few taps of a button. In a way, the show has morphed to use fear as a vague catch-all. Maybe that manifests in the supernatural or the anxiety that your coworker might be in love with your spouse, but at this point “Black Mirror” feels like it sees its original, motivating premise as more a hindrance than an opportunity.

Season 6 ends in a ball of fire, a tongue-in-cheek parting shot that would have more power if it was more of an exclamation point than an ellipse. The final moments of “Black Museum” (the last time the show presented what felt like its own eulogy) had a similar winking nature, but that had the force of a genuinely unsettling and potent “Arabian Nights”-style framing device leading up to it. Driving off in a plume of smoke still worked when there was gas left in the tank. When “Demon 79” cuts to black, “Black Mirror” is ending the world not as warning sign, but simply because it can. After that, where else is there to go next?

“Black Mirror” Season 6 is now available to stream on Netflix.

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[Editor’s Note: The following review contains spoilers

False reports that “The Idol” is not returning for Season 2 were debunked Thursday, with HBO PR tweeting, “It is being misreported that a decision on a second season of The Idol has been determined. It has not, and we look forward to sharing the next episode with you Sunday night.”

The response came after a story from Page Six stated that the currently airing season of the controversial musical drama starring The Weeknd and Lily-Rose Depp would be its first and only. The original headline for the Page Six story cited The Weeknd’s reportedly “difficult” behavior on set with influencing the decision.

As it now reads, the article, “Fate of ‘The Idol’ Up in the Air Amid Criticism of The Weeknd’s ‘Egomaniacal’ Behavior,” alleges that Abel Tesfaye (The Weeknd) “is said to not be planning a second season of ‘The Idol’ — amid backlash over outrageous sex scenes on the controversial series and the singer’s ‘egomaniacal’ behavior on set.” Much of the article has stayed the same as what originally ran Thursday, but statements from HBO have been added throughout.

Several Twitter accounts with large followings used the original article to report the series would not be returning, including Cinema Solace, ScreenTime and JustJared.

Per the Page Six reporting, a source at HBO said, “The door is definitely still open — it’s definitely not a decision [yet].” The report also waffles on its characterization of Tesfaye. At one point, it quotes an unnamed source that called the singer and performer “egomaniacal” and points out that Depp has admitted there were times when she would “steer clear” of her costar. Two paragraphs later, another source calls Tesfaye “beloved.”

Tesfaye, Sam Levinson and Reza Fahim’s series has emerged as one of the most-discussed dramas of the summer. Centered around a pop singer named Jocelyn (Depp), the series chronicles her journey to be back on top following a mental health breakdown. Desperate to recapture her fame, she partners with Tedros (Tesfaye), a self-help guru and modern day cult leader, in a professional and sexual relationship. The first episode debuted to 913,000 live viewers with Episode 2 dropping to 800,000.

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False reports that “The Idol” is not

Little People, Big World season 24 is over, and it’s time to share facts about the series’ future. Since 2006, the Roloffs have opened up their farmhouse, so viewers can see different aspects of their everyday lives. The family has broken barriers, and made fans fall in love with their story. Little People, Big World season 24 showed the family in utter chaos thanks to Matt. He broke his promise to keep Roloff Farms within the family.

SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

Last season, Little People, Big World showed the Roloff family being torn apart. Zach, who had been working under his father for years, was preparing to take over the farm, but after negotiations turned sour, the father and son duo didn’t speak for months. Many blamed Caryn Chandler, Matt’s longtime girlfriend, for butting in. The fallout got so bad that Zach and Tori chose to move their family out of state to Battleground, WA, so they could start their own lives. In retaliation, Matt asked his youngest son Jacob Roloff to come and lend a hand on the family farm. A new season should tie up the loose ends.


Little People, Big World Season 25 News

Matt was rushed to the hospital only three weeks ago, after a routine procedure didn’t go as planned. The Little People, Big World star posted from his hospital bed that he’d gone for a standard upper endoscopy to, “check out” his esophagus. Unfortunately, there were some complications with Matt, including issues with his stomach. The goal was for Matt to have his upper digestive system checked out, but he ended up having surgery. Matt also noted that, “more work” must be done, hinting that season 25 could capture his medical saga.

Amy has recently opened up about her troubled marriage to Matt. Matt and Amy have been navigating their divorce (and a new dynamic) for the last few seasons. Prior to Matt’s recent health scare, Amy spoke out on her Instagram Live about how lonely her marriage to Matt really was. For years, the two butted heads, and often fought while on family trips. Amy was frequently left to raise the children on her own, while Matt worked and played at Roloff Farms. The distance caused the couple to fall out of love with one another.

Is Little People, Big World Season 25 Confirmed?

Right now, whether Little People, Big World will make its triumphant return for season 25 is unconfirmed. Even though there’s no exact date, back in February, Matt shared a series of IG photos of the farm during a major snowstorm. In one image, a camera operator could be seen filming Matt while he filmed them. Most recently, Matt shared an update on how his new home (another farm) was coming along.

Amy’s also mentioned that she’s been filming for Little People, Big World season 25 while on her IG Live. In April 2023, Amy gave her biggest clue when she shared a photo of her pup, Daisy. The mother of four noted that her dog likes to sleep at her feet when she’s filming interviews for the show. In the snap, numerous cameras (and the sound crew) could be seen.

Little People, Big World Season 25 Potential Release Date

Matt Roloff from LPBW wearing cowboy hat smiling

Little People, Big World season 24 premiered back in November 2022. Even though there aren’t any more hints on when season 25 will hit screens, this date could be a good indicator of when the newest season might premiere. Fans of Little People, Big World could look towards late fall for the most recent installment of drama. New fall lineups have been announced late in the past, which may keep viewers on the edges of their seats.

Little People, Big World Season 25 Potential Cast

The Roloff Family LPBW posing outdoor in fall clothing group shot

While no one has been officially confirmed for Little People, Big World, it’s safe to assume that some familiar faces will return. Matt and Amy will most likely reappear as the main cast members in the series. Matt will focus his storyline on now owning all of Roloff Farms, and his recent engagement to Caryn Chandler. The couple will most likely air their wedding planning (and the big day) on the series, since every other Roloff family member has done the same.

Amy will still focus on her new marriage to Chris Marek. The two have been living their best lives as they ride motorcycles around the Oregon mountains. Zach may also come back with his wife, Tori, and two children. However, their participation could be rather scant since they continue to have issues with Matt. Jeremy and Audrey Roloff have no interest in returning. However, the Little People, Big World alums moved down the road from the family farm. Jacob has been helping out, so it is possible that he’ll guest star in a few episodes. He’s extremely private, so that likelihood is low.

Sources: Matt Roloff/ Instagram, Amy Roloff/Instagram

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Little People, Big World season 24 is

Christine McCarthy is stepping down as The Walt Disney Company’s chief financial officer and taking a family medical leave of absence. McCarthy will be replaced in the interim by Kevin Lansberry, executive vice president and chief financial officer of the Parks Experiences and Products division, effective July 1.

“Christine McCarthy is one of the most admired financial executives in America, and her impact on The Walt Disney Company during 23 years of dedicated service cannot be overstated,” CEO Bob Iger said in a statement.

McCarthy will continue as a strategic advisor to the company during her leave and will assist with the process of identifying and onboarding a long-term successor to ensure a smooth and successful transition.

“I am immensely grateful for the opportunity Bob provided me to serve as CFO of this iconic company and am proud of the work my talented team has done to position Disney to capitalize on the business possibilities that lie ahead,” McCarthy added. “Although I am leaving the CFO role, I look forward to helping with the transition and will always be rooting for the success of my extended Disney family, who have shown time and again that determination, teamwork and the pursuit of excellence are an unstoppable combination.”

McCarthy joined the company as a treasurer in 2000 before being elevated to the CFO role in 2015. Prior to Disney, she served as Imperial Bancorp’s executive vice president and CFO from 1997 to 2000 and held various executive positions in finance and planning at irst Interstate Bancorp from 1981 to 1996. She currently serves on the board of directors of Procter & Gamble and FM Global and is a trustee of the Carnegie Institution for Science.

As interim CFO, Lansberry is tasked with overseeing the entertainment giant’s worldwide finance organization, including corporate alliances and partnerships, real estate, strategy, business development, enterprise technology, financial planning and analysis, global product and labor standards, global security, investor relations, risk management, tax and treasury.

“Kevin has been with the company for more than three decades and is a trusted lieutenant to Christine. Having expertly served as CFO at our largest business segment since 2017, he has my complete confidence, and I look forward to working with him during this transition,” Iger said.

During his tenure in the Parks, Experiences and Productions division, Lansberry has held leadership roles in finance, business development, alliances and operations. He assumed his the role of executive vice president and chief financial officer of Walt Disney Parks and Resorts in 2017 and later expanded his oversight to consumer products in 2018. In that role, he’s been responsible for the financial planning and fiscal management of domestic and international theme parks and resorts, Disney Cruise Line, Disney Vacation Club, Adventures by Disney, Walt Disney Imagineering, revenue management and analytics, global business development and Consumer Products.

More to come…

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Christine McCarthy is stepping down as The

When the American Film Institute announced last year that it was merging AFI Docs, the organization’s annual Washington, D.C., documentary film festival, into the Los Angeles-based AFI Fest, Jamie Shor called Sky Sitney.

Shor, president of PR Collaborative, and Sitney, director of the film and media studies program at Georgetown, had both previously worked for AFI Docs. Shor’s publicity firm had done work for the former festival, previously known as Silverdocs, while Sitney served as AFI Docs festival director from 2005-2014.

“Sky and I were both thinking to ourselves that Washington, D.C., was not going to have a doc presence,” says Shor. “It collectively broke our hearts.”

So, the duo spent the last year and a half creating and building DC/Dox, a new nonfiction film festival based in the nation’s capital. The inaugural four-day festival kicks off on June 15 with the D.C. premiere of “Joan Baez: I Am a Noise.”

In all, 31 features and 21 shorts from eight countries will screen during DC/Dox in venues including the Martin Luther King Jr. Memorial Library, the National Archives’ William G. McGowan Theater and the Smithsonian National Portrait Gallery.

Four films will be making their world premiere at DC/Dox, including Dawn Porter’s “Deadlocked: How America Shaped the Supreme Court.” Part one of the four-part Showtime series will screen on June 18. Nick Capote’s “Between Life & Death: Terri Schiavo’s Story,” as well as two short docus — “Bubjan” and “The Silent Witness” — will also premiere at the fest.

DC/Dox will also showcase notable films that previously debuted at various festivals around the country including Penny Lane’s “Confessions of a Good Samaritan” (SXSW) and two docs from Peter Nicks — “Anthem” (Tribeca) and “Stephen Curry: Underrated” (Sundance).

Variety spoke with Shor and Sitney about DC/Dox’s evolution, lineup and eventual growth.

Last year, on June 15, you held a one-day DC/Dox event where you screened seven films. What was the purpose of that event?

Sitney: It was both an announcement and a proof of concept. The proof of concept was both internal and to funders. It was also an opportunity for us to go out into the world with our intention.

Shor: After we screened those seven docs, what we saw in that one night only was a real hunger from people for those kinds of films. We immediately came off of that event and looked at each other and said, “I think we can make a festival work.”

Film festivals are keeping many docus alive, so to speak, due to the current marketplace, which is not proving to be a place for social issue films. In creating the lineup for the fest, were you thinking about keeping films “alive”?

Sitney: When I was thinking about programming that was definitely part of a much broader area of things that I was considering. I was really thinking about the ways in which these films are representing the form. The way they are pushing up against the boundaries of documentary. We are consistently recalibrating and redefining what documentary is because of the filmmakers who are at the forefront of that and bringing us into uncomfortable places at times.

Shor: We have a couple of Sundance titles that have distribution and some that don’t. But every film that is in this festival has a reason to be here. We feel like this market adds some heft to filmmakers’ mission to get out to as wide an audience as possible.

This year you did not have an open call for submissions. So how did you find the 31 features and 21 shorts that make up the lineup?

Sitney: It was a combination of attending different festivals, certainly a lot of soliciting from already existing festival lineups and talking to distributors and producers about what’s coming around the pike.

Will submissions be open for the 2024 festival?

Shor: Yes.

In choosing the 31 feature docs that make up this year’s lineup, what were you looking for?

Sitney: We wanted to create a diverse slate that represents a lot of different approaches to the form. We also wanted to have different kinds of themes and subject matters being expressed. As a curator, I feel first and foremost that documentary is a parameter. It’s a boundary and I really think it’s interesting to explore that boundary and see the breadth and the scope of the things that can be contained within it. Over the years, we’ve all seen milestones in documentaries, like “The Act of Killing” or many, many years ago, “The Thin Blue Line.” Those films had the whole community talking and asking, is this a documentary or not? What are the ethical breaches if any? So, I like to be really expansive.

For a festival, 31 features is an intimate slate. Will you expand on that number next year for the 2024 edition of DC/DOX?

Sitney: When we think about growing the festival, it’s not about growing number of films. I really like an intimate slate. There’s a lot we can do for that slate. So, I think we’ll have to be very mindful as the years progress in terms of how much we want to expand the numbers.

Since the fest is in D.C., are you leaning towards politically minded fare?

Sitney: There’s no doubt that when there’s a film that’s dealing with politics or policy, this is a place where that film should be presented. We can create an incredible context for that film and are one-hundred percent leaning into that, but we don’t want that to be the entire program. D.C. as a living city is so much more than The Hill. It’s so much more than just politics. It’s incredibly dynamic and diverse with such rich arts and culture. So we want this festival to not just be something that represents a touristic view of Washington, D.C. We also want the community that’s here to feel that the festival resonates with the reality of the lived experience of being here.

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When the American Film Institute announced last

Editor’s note: Deadline’s It Starts on the Page features 10 standout drama series scripts in 2023 Emmy contention. It showcases the critical role writers’ work plays in a show’s success. All materials (the script and writers intro) were submitted before the WGA strike began on May 2.

The spinoff from Vince Gilligan’s Emmy-winning Breaking Bad, Better Call Saul wrapped its run on AMC by tying up all the loose threads that wove through the ambitious drama for six seasons and spanned characters that appeared in both series.

That feat culminated with Season 6’s 13th and final episode, “Saul Gone,” written and directed by series co-creator Peter Gould, who brought it all home by providing a platform that literally put Bob Odenkirk’s lead character — in essence a man made up separate entities in Jimmy McGill, lawyer/crook Saul Goodman and fugitive Gene Takavic — on trial for his numerous crimes and misdeeds.

It was one final piece of brilliance in a series that has been nominated for 46 Emmys so far, including five noms for writing.

Here is the script for “Saul Gone” with an introduction from Gould, in which he writes about the beats he wanted to hit in wrapping up the series, and whether Jimmy/Saul really did find what he sought in the end.

How to write an end? A sixty-third and final episode? Daunting is a good word. What I was hoping, more than anything, was to be true to the characters, true to the show.

The concept of the episode is to peel back the layers of the character. He goes from terrified fugitive Gene, to cocky Saul Goodman and finally to Jimmy McGill, a man who takes responsibility for his actions.

It’s a hell of a journey for a single hour of television.

And, inside this story, weaving together three “ghosts” from Jimmy’s past. Three men pivotal in his life: Mike, Walt and, at the heart of the matter, his brother Chuck. I’ve been writing these characters for almost fifteen years now, so the opportunity to revisit all of them (including Walt!), and write in these very different voices one last time was devastatingly emotional.

Fact is, it’s more than the characters. It’s the alchemy that happens when these actors play them. As odd as it sounds, I know I’m going to be hearing Bob, Rhea, Jonathan, Bryan and Michael’s voices in my head for the rest of my life — what a gift!

I never think of this as a redemption episode. In my book, this guy can never make up for the harm he’s done, but I wanted to leave the audience with a glimmer of hope. At the end, he’s a man worthy of looking Kim Wexler in the eye and sharing one last cigarette with her. Jimmy McGill may have lost his freedom but he gained his humanity.

Check out the script below.

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Editor’s note: Deadline’s It Starts on the Page features 10

Twitch is introducing Partner Plus, a program boosting the cut that streamers earn to 70% of subscription revenue — with a few conditions, however.

Twitch’s new Partner Program, set to go into effect starting in October 2023, pay streamers 70% share on net subscription revenue to who meet the qualification criteria (with Twitch keeping the other 30%). The standard revenue split Twitch offers streaming partners is 50%. To qualify, Twitch Partners must maintain a sub count of at least 350 recurring paid subscriptions for three consecutive months.

Streamers in the Partner Plus program will receive the 70/30 revenue share on net subscription revenue (revenue from recurring monthly subscriptions and gift subscriptions), for 12 months up to $100,000. Once a streamer earns $100,000 through Partner Plus, the revenue share will return to standard rate of 50% for most partners. The threshold resets every calendar year.

“Our focus has always been on inspiring, growing and sustaining Twitch streamers all around the world. We hope this new program demonstrates that commitment,” chief monetization officer Mike Minton and chief content officer Laura Lee wrote in a blog post announcing the program.

The Partner Plus program will launch on Oct. 1, 2023. Streamers who meet the qualification criteria over the three months prior (July, August and September) will be automatically enrolled in the program and notified in October.

According to Twitch, it paid out more than $1 billion to streamers in 2022. The Amazon-owned platform says it has more than 31 million average daily visitors (and that at any given moment an average of 2.5 million people are watching livestreams). On a monthly basis, some 7 million streamers go live on Twitch, the company says.

Twitch’s announcement of Partner Plus comes a week after it revoked plans for new restrictions on branded content for streamers following a creator backlash.

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Twitch is introducing Partner Plus, a program

Variety TV editors Emily Longeretta and Michael Schneider discuss their predictions for the upcoming Emmys’ outstanding limited and anthology series category for Variety‘s Awards Circuit, presented by Showtime.

With adaptations on the rise, Schneider and Longeretta note how this year’s selection is dominated by book-to-screen adaptations, as well as series based on true crime stories.

Ryan Murphy’s latest true crime adaption, “Dahmer – Monster: The Jeffrey Dahmer Story,” the second retelling of the murder of Betty Gore in “Love and Death” and the true story behind Jimmy Keene and Larry Hall in “Black Bird” are all up for possible contention this year. “What’s a show without a murder? Every show needs a murder,” joked Schneider.

In addition to vying for awards contention, Schneider and Longeretta noted how the success from “Dahmer” has garnered Murphy an additional Netflix anthology franchise, following his work on “American Horror Story” and “American Crime Story.”

While true crime could occupy half of the category, book-to-screen adaptations, including “Daisy Jones and the Six” and “Fleishman Is in Trouble,” are also up for consideration. Each series follows the highs and lows of marriage, but Taylor Jenkins Reid’s “Daisy Jones and the Six” drives inspiration from the music of 1970s Southern California, while Taffy Brodesser-Akner’s “Fleishman Is in Trouble” comments on the Manhattan elite in the 21st century.

“Lizzy Caplan blew my mind, but Claire Danes, of course, also really really crushed it,” said Longeretta of the “Fleishman” actors. “The story was intense. It made me a little anxious. I laughed. I cried. I think that it had the full spectrum of emotions.”

Netflix’s “Beef” stands as the only original concept, and follows two aggressive drivers, Ali Wong (Amy Lau) and Steven Yeun (Danny Cho), who develop a contentious cat-and-mouse game in pursuit of each other’s demise.

In addition to these limited series, Variety‘s editors hope to see a few more garner awards recognition. Schneider is rooting for Peacock’s “Mrs. Davis,” while Longeretta wants another true crime story to take the stage, “A Friend of the Family,” which stars Jake Lacy and Mckenna Grace.

Variety‘s Awards Circuit is presented by Showtime FYC.

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Variety TV editors Emily Longeretta and Michael

Carlos Santana forgives man who sexually abused him ‘almost every day’ between ages of 10 and 12: ‘Open your hands and let it go’

Carlos Santana has forgiven a man who sexually abused him ‘almost every day’ when he was between the age of 10 and 12.

The 75-year-old music icon revealed how he was able to find it in his heart to stop blaming the person who committed those heinous acts in a recent interview with People magazine.

He – who had a health scare last year –  said: ‘My son and I were talking about this yesterday, how acceptance and forgiveness are really spiritual.

‘I learned to look at everyone who ever went out of their way to hurt me, demean me or make me feel like less, like they’re 5 or 6 years old, and I’m able to look at them with understanding and compassion.’

Santana said he was able to find peace after what happened to him by looking at the situation from a different perspective.

Inspiration: Carlos Santana has forgiven a man who sexually abused him ‘almost every day’ when he was between the age of 10 and 12′ he is seen performing in Michigan in July 2022

'I'm able to look at them with understanding and compassion': The 75-year-old music icon revealed how he was able to find it in his heart to stop blaming the person who committed those heinous acts in a recent interview with People magazine

‘I’m able to look at them with understanding and compassion’: The 75-year-old music icon revealed how he was able to find it in his heart to stop blaming the person who committed those heinous acts in a recent interview with People magazine

He explained: ‘For example, this person who abused me sexually, instead of sending him to hell forever, I visualized him like a child, and behind him there was a lot of light.

‘So I can send him to the light or send him to hell knowing that if I send him to hell, I’m going to go with him. But if I send him to the light, then I’m going to go with him also.

‘There’s this saying, “Hurt people hurt people.” It’s my pain. It did happen to me. But if you open your hands, and you let it go, then you don’t feel that anymore.’

Santana bravely went public with the abuse in an interview with Rolling Stone back in 2000.

He said that for about two years from 1957 to 1959 when he was between 10 and 12 years old he was brought over the border ‘almost every other day’ by an American man from Burlington, Vermont.

The abuser would buy Santana presents including food, clothes, and toys while abusing him.

According to the article, it all ended when the man slapped Santana as he looked through a girl he was in love with through a window.

The Maria Maria hitmaker explained: ‘And then I woke up. I looked at him for the first time for who he was: a very sick person.’

'For example, this person who abused me sexually, instead of sending him to hell forever, I visualized him like a child, and behind him there was a lot of light': Santana said he was able to find peace after what happened to him by looking at the situation from a different perspective; he is pictured in December 2013

‘For example, this person who abused me sexually, instead of sending him to hell forever, I visualized him like a child, and behind him there was a lot of light’: Santana said he was able to find peace after what happened to him by looking at the situation from a different perspective; he is pictured in December 2013

'Hurt people hurt people': Santana bravely went public with the abuse in an interview with Rolling Stone back in 2000; he is pictured in October 1993

‘Hurt people hurt people’: Santana bravely went public with the abuse in an interview with Rolling Stone back in 2000; he is pictured in October 1993

'And then I woke up. I looked at him for the first time for who he was: a very sick person': He said that for about two years from 1957 to 1959 when he was between 10 and 12 years old he was brought over the border 'almost every other day' by an American man from Burlington, Vermont; he is pictured in 1996

‘And then I woke up. I looked at him for the first time for who he was: a very sick person’: He said that for about two years from 1957 to 1959 when he was between 10 and 12 years old he was brought over the border ‘almost every other day’ by an American man from Burlington, Vermont; he is pictured in 1996

Epic: A documentary chronicling his life - titled Carlos - is set to premiere this weekend at The Tribeca Film Festival on Saturday, June 17; he is seen in February 2000

Epic: A documentary chronicling his life – titled Carlos – is set to premiere this weekend at The Tribeca Film Festival on Saturday, June 17; he is seen in February 2000

At the time Santana also admitted that even if he was the victim, he blamed himself.

He said: ‘You want to get angry with yourself for not knowing better. The mind has a very insidious way of making you feel guilty: You’re the guilty party, shame on you, you’re the one who brought this on yourself.’

Of his relationship with the man, Santana admitted to The Guardian years later in 2014 that the man was an American tourist who had become friends with his parents. 

A documentary chronicling his life – titled Carlos – is set to premiere this weekend  at The Tribeca Film Festival on Saturday, June 17.

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Tyler Rake was clinically dead when we last saw him at the end of “Extraction,” tumbling over a bridge in Bangladesh with a fatal, burbling bullet wound to his neck. But death is no match for Netflix.

Chris Hemsworth returns as the sad-sack, gun-for-hire Rake in “Extraction 2” and you’ll thank the giant streamer for such a nifty bit of resurrection because this franchise is pure cinematic adrenalin.

The new movie comes two years after a surprisingly good first installment, which saw Rake intervene in a feud between two rival drug dealers, survive numerous double-crosses, ask things like “How many hostiles onsite?” and lob an inexhaustible number of grenades.

How he survived it all stuns even his friends. Emerging from a coma in “Extraction 2,” he is stashed in a remote chalet in Gmunden, Austria, and told to chill out — learn to knit, go on hikes, try to reach mindfulness. “Enjoy retirement,” he is told. If he did there would be no “Extraction 2.”

Inevitably, a new extraction job comes along, so cue the getting-in-shape montage of Hemsworth doing pushups in the snow, splitting firewood, pushing a sled filled with rocks and some light ax throwing. Somehow, the “Extraction” movies lean into all the cliches but they don’t feel old.

Hemsworth is re-joined here by Marvel Comic Universe–screenwriter Joe Russo and stunt-specialist-turned-director Sam Hargrave, but their ace-in-the-hole is their cinematographers, who create impossibly long single takes of complicated fighting or driving scenes that put the viewer directly into the action like few other thrillers.

Last time it was Newton Thomas Sigel. This time, Greg Baldi stages a breathless rescue from inside the winding tunnels of a brutal Georgian prison, complete with a full riot, a flaming police shield used as a weapon, a car chase with motorcycles and rockets, a race through a factory and then onto a train moving 40 mph, where helicopters are shot down and there’s more hand-to-hand combat aboard. It’s a 20-minute tour-de-force — the kind of sequence that brings you up from your seat to applaud, even if you’re on your couch. And there’s more than an hour to go.

“Extraction 2” seems to have more money this time around — I’m sure they’d like to apologize for using a lot of it to trash downtown Vienna — but unlike other action franchises, it doesn’t waste it on pretty excursions to Paris museums or five-star Tokyo hotels.

The strength of these movies has always been being down in the mud, streets and dirt, with the sound of spent cartridges pinging off concrete. These characters sweat and they bruise, even if many look fabulous in sunglasses.

The baddies here are similar to the first installment — a pair of powerful, scarred brothers who run heroin and guns in Georgia and are quiet-talking psychopaths, the kind who whisper a metaphor and then plunge a rake into your throat.

We learn a bit more about Rake and even meet members of his extended family, but he remains a one-note emotionally suppressed man. One knock on the franchise is that it hasn’t been able to take advantage of Hemsworth’s humor, like Marvel has done with his Thor.

Family is at the heart of “Extraction 2” as Rake gets in between this Georgian clan and also seeks to keep alive his trusted handler, Nik Khan (Golshifteh Farahani, seriously good, a franchise spin-off anyone?) and her cool-as-silk sidekick brother (Adam Bessa).

Death will only free one side and, along the way, a fancy rooftop gym will be turned into a charnel house, a skyscraper will be virtually razed by rocket fire, an airfield will explode in a fiery mess and a church will be wrecked — sorry, God. But death isn’t the final word — in this franchise, that’s relative.

“Extraction 2,” a Netflix release that airs Friday, is rated R for “strong, bloody violence throughout and language.” Running time: 123 minutes. Three stars out of four.

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MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

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Online: https://www.netflix.com/title/81098494

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Mark Kennedy is at http://twitter.com/KennedyTwits

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Tyler Rake was clinically dead when we

It turns out that at some point in the development process for Spider-Man: Across the Spider-Verse, Jess Drew’s Spider-Woman was almost an entirely different race.

One of the standout new additions to the Spider-Verse was Issa Rae’s Jessica Drew, who Gwen Stacy met in the opening minutes of the sequel.

Not only was she badass, and rode a motorcycle, but she was pregnant on top of it all. This take on Spider-Woman hails from the character’s 2015 comic run by author Dennis Hopeless.

In the original comics, Drew is actually Caucasian. For Spider-Verse 2, the creatives obviously chose to switch it up—however, it turns out, that a third racial possibility was thrown around.

Spider-Woman Was Originally Another Race

Concept artist Mauro Belfiore shared new illustrations from his work on Spider-Man: Across the Spider-Verse that revealed the studio originally considered another race for Jess Drew’s Spider-Woman.

In the newly released images, it seems that Sony also made the character Asian, instead of what audiences got—or Caucasian, as her comics counterpart is.

Marvel

The concept artist noted that his task at the time was “to explore faces, hairstyles and attitude of the character:”

“Jessica Drew explorations for [‘Across the Spider-Verse’]. My task at that time was to explore faces, hairstyles and attitude of the character. Costume design here is based on Kristafer Anka work that was selected by directors at that time.”

Spider-Woman, Spider-Verse
Marvel

In the end, the creatives chose to make Jess Drew African American, casting Issa Rae in the role. The character also ended up sporting a stunning afro and comic-accurate shades.

Spider-Woman, Spider-Verse
Marvel

A fun art piece shows Gwen Stacy trailing Jess Drew as she drives down the side of a building.

Spider-Woman, Spider-Verse
Marvel

The artist also explored alternate clothing for the hero. It also seems her mentor dynamic with Gwen was always part of the picture.

Spider-Woman, Spider-Verse
Marvel

The designers went through multiple variations of the eye-catching hairstyle that Jess would sport throughout the film.

Spider-Woman, Spider-Verse
Marvel

It seems that a majority of the time, a version of an afro won out.

Spider-Woman, Spider-Verse
Marvel

The Rise of Spider-Woman

Given the very concept of the Spider-Verse, the creatives behind the movie could pretty much do whatever they wanted when it came to character designs. So, while the Jess Drew audiences got doesn’t perfectly line up with her comic counterpart, that version is still out there in the Multiverse somewhere—as is the Asian Drew who didn’t make the cut.

Next year, the popularity of Spider-Woman is bound to go up even more, with Sony Pictures releasing Madame Web. The Spider-Man spin-off reportedly includes a handful of superheroines who’ve held the title in the past—though it doesn’t seem like Jessica Drew will be included.

Currently, it’s rumored that Olivia Wilde’s mystery Marvel film will focus on Drew—though, who knows if it’ll ever get off the ground. The last audiences heard about it, The Hollywood Reporter confirmed the filmmaker “is still attached to direct a Marvel feature for Sony,” stopping just shy of confirming who the project is about.

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

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Eisner Award winner Rafael Grampá is bringing his twisted vision of Batman to DC Black Label this September with the new miniseries Batman: Gargoyle of Gotham.

Check out all the details for this new series in the official press release below, and be sure to pick up issue #1 on September 16.

 

Batman: Gargoyle of Gotham

Eisner Award-Winning Storyteller Rafael Grampá Creates a Grim and Terrifying Vision of

Batman and Gotham City in an All-New DC Black Label Series!

Four-Issue Bimonthly Series Debuts on Batman Day, Saturday, September 16 in North America, Brazil, Spain, Italy, and Germany

Debut Issue Features Variant Covers from Comics’ Most Celebrated Artists, and Will Launch with a Separate, Special “Noir” Edition

From his creator-owned series Mesmo Delivery to titles like BRZRKR and Kick-Ass to his work on DC titles such as Wonder Woman, Action Comics, and Dark Knight Returns: The Golden Child, artist Rafael Grampá’s dynamic art style has earned him legions of fans worldwide. This September, the award-winning artist adds to his impressive pedigree with Batman: Gargoyle of Gotham, a new DC Black Label (Ages 17+) limited series.

Available just in time for Batman Day (Saturday, September 16), Batman: Gargoyle of Gotham brings Grampá’s twisted vision of both the Dark Knight and the city of Gotham to life in a tale that reaches its icy black tendrils into the deepest and darkest corners of human nature to leave you gasping for breath—and begging for more!

“When his origin was introduced in Batman #1 in the 1940s, Bruce Wayne swore revenge by the spirits of his murdered parents and—driven by his belief in an omen—became Batman,” said Grampá. “For me, this subtle aspect of Bruce’s belief system has always been the fundamental core of Batman, and through that lens I recognized this untold story. Batman: Gargoyle of Gotham explores ‘who he is and why he came to be.’ It makes my dream of bringing my own interpretation of Batman to life a reality as I delve into the darkest corners of his essence. I sincerely hope readers enjoy the ride.”

In a Gotham City where every day feels darker and more irredeemable than the last, Batman makes a definitive choice—to kill off the Bruce Wayne identity for good and embrace the cape and cowl full-time. But though he knows the streets of Gotham, Batman will soon come to find that he hardly knows himself. A serial killer is on the loose, and while the murder victims seem random at first, every clue draws Batman closer to the terrifying truth—that they are all connected, not just to each other, but to him as well. When an all-new rogues gallery of utterly depraved villains begins to emerge from the depths of the city, Batman will have to contend with the very nature of evil—including that which lurks in the darkest corners of his own heart—to face what is coming for the city he has sworn to protect.

In addition to Grampá’s breathtaking cover and interior art, a who’s who of comic book luminaries lend their talents to this debut issue in the form of some incredible variant covers.

Fan-favorite artist Jim Lee will be providing a variant cover (featuring colors by series colorist Matheus Lopes), with additional variants from comic book icon and Golden Child collaborator Frank Miller and renowned Batman artist David Finch. A black-and-white version of Lee’s cover will be available as a 1-in-25 “ratio” variant, along with a 1-in-50 variant cover by Priscilla Petraites (Chariot, Rat Queens), a 1-in-100 variant cover from Paul Pope (Batman: Year 100), and a 1-in-250 black-and-white variant cover by Miller, also based on his cover art. Visit your local comic book shop for availability and pre-ordering details.

Batman: Gargoyle of Gotham #1 will also be available (at participating retailers) in a “noir” version, showcasing the complete first issue (art and letters) of the story in vivid black and white.

Batman: Gargoyle of Gotham #1 and Batman: Gargoyle of Gotham Noir Edition #1 arrive in comic book shops and participating digital retailers September 16, and the series is recommended for readers ages 17+. For the latest information on this series and the World’s Greatest Super Heroes, visit the official DC website at www.dc.com, and follow @DCOfficial and @thedcnation on social media. The DC UNIVERSE INFINITE digital subscription service (DCUI) contains an incredible selection of DC stories featuring Batman, and from DC’s Black Label imprint; for more information and a free trial, visit the website at www.dcuniverseinfinite.com. DCUI is not available in all countries and is not intended for children.

 

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315 Eisner Award winner Rafael Grampá is bringing

Dan Houser, co-founder of Rockstar Games, has announced a new media company.

Following the news in 2021 that the ex-Rockstar boss has incorporated a new company in various regions, Houser has officially debuted Absurd Ventures which will “create new IP across all platforms and for all formats.”

“We are building Absurd Ventures to create new universes and to tell great stories, wherever and however we can,” said Houser in a prepared statement.

Alongside this announcement, the new company has launched www.absurdventures.com, where users can “register to receive exclusive content and company updates.”

Parent company Take-Two announced in February 2020 that Houser was set to leave Rockstar on March 11, 2020, following an “extended break” beginning in the spring of 2019.

The British writer, producer and voice actor co-founded Rockstar in 1998, alongside his brother Sam, Terry Donovan and Jamie King.

Dan Houser was a key figure behind many of the company’s most successful titles, having written or co-written almost all of the games in the Grand Theft Auto and Red Dead Redemption series, as well as Bully and Max Payne 3.

Houser’s most recent titles, Grand Theft Auto V and Red Dead Redemption 2, have alone sold a combined 150 million units.

In 2009, both Dan and his brother Sam were named in Time magazine’s 100 most influential people list. “The Housers are doing the work of Tom Wolfe, creating tapestries of modern times as detailed as those of Balzac or Dickens,” it said.

Despite their near-celebrity status as creators of some of the biggest games – and entertainment – in history, Dan and his brother have historically shied away from the spotlight and rarely conduct interviews.

Houser’s departure followed the 2016 exit of the influential former Rockstar North president Leslie Benzies, who later sued Take-Two Interactive for $150 million in unpaid royalties, alleging that the company tried to force him out after he took a sabbatical. The claim was settled in 2018.

Benzies founded his own studio, Build a Rocket Boy, in 2017. The Scottish studio is working on a new open-world game called Everywhere.