The star of The Mother wore color blocked gown with a dramatic drop waist and a sweeping, champagne hued skirt. The dress’s bodice is made of a black scuba material with a short collar and a front zipper like a wetsuit, which Lopez wore unzipped to nearly her bellybutton. She finished the dramatic look with a simple black envelope clutch, a bevy of cocktail rings, and a sleek high pony.
Axelle/Bauer-Griffin
Jennifer Lopez was there to support her husband at the premiere of The Flash, in which he reprises his Batman role. Affleck only appears briefly in the movie, but he told The Hollywood Reporter in March that it was perhaps his best Batman performance yet. “Yeah, I did finally figure out how to play that character, and I nailed it in The Flash,” he said. “For the five minutes I’m there, it’s really great. A lot of it’s just tone. You’ve got to figure out, what’s your version of the person? Who is the guy that fits what you can do? I tried to fit myself into a Batman.”
It definitely looks like Affleck’s bat suit is really working for his wife, at least.
Like going to the gym, there are certain screenwriting exercises that work. And it’s reassuring to know that I can maintain, and even enhance my screenwriting profile by throwing away worry, and just exercise.
Ive written tonnes and tonnes. I often worry that my skills have plateaued. But like going to the gym, I think a new routine my help shake up your lethargy and get you flowing.
Creative writing is a challenging art form. And screenwriting even more so. Screenwriting demands an understanding of the craft as well as the business side.
Above all, to become a successful screenwriter you need to become a successful storyteller. And a storyteller that uses the visual medium.
Screenwriters, like storytellers, need to master the fundamentals of storytelling, character development, and plot structure.
Ive been working with writers since 1992 here at Raindance. I have noted down seven distinct exercises that i just know will help you. Be you a professional, or an emerging creative seeking to explore storytelling, these exercises will work for you.
If you are like me, the idea of doing exercises fills me with dread. But sometimes it’s worth shaking up the daily routine to see what comes out of it.
A lot of these exercises don’t involve typing at all – but working with scissors, crayons and a glue pot. And what could be more random than that? And don’t worry if you think you can’t draw!
1.Write the title, then the logline
A logline is a one-sentence summary of your screenplay. I learned this from the master of storytelling himself, Roger Corman..
Way back in 1996, Roger was a guest of the Raindance Film Festival and I spent an entire week with him. He’s a morning guy and would come to my office with all the British broadsheets. Over a coffee, he would tear keywords out of the headlines and mash them up. If he saw something he liked, he would add in a log line. And presto, he’d have a new movie idea.
For example: The Little Shop Of Horrors ” the flowers that kill in the spring” Other of his films didn’t need a tagline, like Death race.
2. Make the poster/design the ad
Why would you go to all the trouble of writing a script, when no one may want to buy it? Why not make the poster first? `flash it around on your social media and see if you get any bites, and then write the damn thing?
Back to the Roger Corman story. He told me that when he found a good title and tagline, he would hire a designer. Each night he would come back to my office and see the posters the designers had come up with in LA. If he liked them, he would show them to financiers in London. If he had a big bite from a financier or distributor, he told me, that upon his return to London in a fortnight, he would hire a screenwriter to write the movie the poster suggested.
Posters of Roger Corman Movies
3. Write 6 lines
And here’s another poster trick that will help your writing.
If you want a great poster, you’ll need a great designer. I collaborate with Robyn Larkin of Whatisbobo.com. Robyn and his team deliver over 400 posters a year. Meaning, with over 20 years of experience, Robyn knows how to create the visual image.
But this is what he needs from you: Two 3 0r 4 line paragraphs where you tell the story. No fluff. Just the meat. Now, thats a writing exercise! Get to it!
4. Write the business plan
Who says you need a finished script to get the money to make the film? And if you are stuck on writing, why not get the Title, Logline and Poster together. And then, voila, make the business plan.
I learned this tip and tricks from one of the most prolific writer/director/producers I know, Ate de Jong. Ate tells me that you do not need a screenplay to get the money to make a film. You need a business plan. And the business plan exists to raise the money while the writer is writing and re-writing the screenplay to fit the budget and the cast. Those six lines from Number 3 (above) are about all you need for the business plan at this point.
Getting the business plan together will rhone your creative vision razor sharp.
When a friend hears you are writing a script, do they ever ask you ‘Tell me about it?” Do you enjoy that moment or does it fill you with dread?
Developing a starting verbal pitch is a key marketing tool, as well as a way to go back over your idea and tighten things up. If you want to hear a dozen or two pitches for new movies on a single night, check out the Live!Ammunition! Pitching Competitionat Raindance.You’ll hear grest pitches, and great comments from a panel that can make movies happen.
6. Read the trades
The creative industries are moving and transforming at ta breakneck speed.
Its al about who yo know. Not what you know. Find filmmaking groups and join in. Monthly in person networking events Raindance TorontoConnect & Create Raindance Vancouver Boozin N Schmoozin Raindance London Boozin N Schmoozin
If you know iof a good networking group, please add it into the comments below!
Fade Out
We have never needed writers and screenwriters more than ever before. We turn to story to process all the changes and terrible news we are surrounded with. And to you, writers and screenwriters, we need to see how to process everything. And to work together to make a better world.
Following the attack, local man Mohammed took to a Russian Telegram channel to speak of his terrifying rescue attempt.
He said: “When I swam up to the man, the water was full of blood.
“Then I saw that he no longer had a hand.
“And then a shark appeared.
“I immediately realised that he could not be rescued. There was a woman in the water too.
“[She was] in complete shock.
“I was able to pull her out of the water and bring her to shore, then immediately swam back to the man.”
Popov’s body was reportedly examined by forensic experts at a morgue in Hurghada, who claimed he was “disfigured and with many parts missing”.
The shark is said to have torn his head off, disfigured his face and separated body parts that were retrieved from the sea.
It was also reported the beast ripped apart his chest and ate parts of the abdomen and hands.
Egyptian news site Al Arabiya claimed Popov’s remains, including his head and hand, were found inside the dissected shark.
A spokesman from the morgue said: “The body of the deceased will not be handed over to his family until the forensic medicine has completed its procedures that serve the course of the investigation of the incident.”
The autopsy is ongoing.
However, experts have now claimed the shark may have been involved in two other fatal attacks last summer.
Everwood star Treat Williams died after being involved in a motorcycle accident. He was 71.
“He was killed this afternoon. He was making a left or a right [and] a car cut him off,” the actor’s rep of 15 years, BarryMcPherson confirmed to People in a Monday, June 12, statement. “I’m just devastated. He was the nicest guy. He was so talented.”
He continued: “He was an actor’s actor. Filmmakers loved him. He’s been the heart of Hollywood since the late 1970s. He was really proud of his performance this year. He’s been so happy with the work that I got him. He’s had a balanced career.”
Jacob Gribble, the fire chief for Dorset, Vermont, claimed that the crash happened on Monday at approximately 5 p.m. ET on Route 30 and involved a single car and Williams’ motorcycle. Gribble noted that the motorcyclist was allegedly the only person hurt and that a LifeNet helicopter was summoned from Ticonderoga, New York, to airlift him to a hospital.
Williams, who got his start in theatre, began his film career in the 1970s by appearing in various mainstream hits like Deadly Hero, The Ritz and The Eagle Has Landed. His big break, however, came in 1979 when he starred as George Berger in the movie adaptation of Broadway’s critically acclaimed Hair. The role earned him a Golden Globe nomination for New Star of the Year — Actor. His second nomination came in 1981 for his portrayal of Daniel Ciello in Prince of the City.
The 1941 actor also made his mark on the small screen. After portraying Dr. Andy Brown on The WB’s Everwood from 2002 to 2006 — a performance that earned him a SAG Award nomination for outstanding performance by a male actor in a drama series — Williams nabbed roles on network hits like Blue Bloods and The Late Shift. In 2016, he began his tenure as Mick O’Brien on Hallmark Channel’s Chesapeake Shores, a family drama based on the novel by Sherryl Woodsof the same name. He remained on the show until its sixth and final season.
While Williams found success in the entertainment industry, he found happiness in his personal life as well. The Connecticut native married wife Pam Van Sant — whom he met when she was waitressing in a New York restaurant — in 1988. The pair went on to welcome two children, Gille and Ellie, in 1992 and 1998, respectively.
In August 2018, Williams opened up to Parade about how having a family changed the way he approached his career — and helped him decide which roles he took on.
“At this point in my life if I’m going to go leave the house in Vermont, which I absolutely adore, it really has to be, ‘Oh, boy, I can’t wait to get on the airplane to do this with these guys,’ he told the outlet, adding that the “best” advice he ever received was to be “passionate” about the work he does.
“Do what you want. Do what you love. The rest will take care of itself,” he continued. “I always lived by that. I think it’s a great way to pursue anything in life that you love. Be passionate about it, commit yourself to it, and the rest will come. I don’t know how sage that is, but that’s the best I got today.”
Paramount Pictures and Skydance’s Mission: Impossible 7 — Dead Reckoning: Part One, featuring Tom Cruise’s next action-packed sprint as Ethan Hunt, has landed a high-value release date in China on July 14. That’s the same day the film launches in North America, which creates marketing synergies and savings for the film and its studio.
Recently, Hollywood tentpoles have been earning less in China, still the world’s second-biggest theatrical box-office territory — but if there’s anyone who can break the trend, perhaps it’s Tom Cruise. His global smash hit Top Gun: Maverick wasn’t released in China because of political reasons. But the last film in the M:I franchise, Mission: Impossible – Fallout earned $181 million in China.
Dead Reckoning: Part One is the seventh installment in Cruise’s franchise, which stretches back to 1996. The eighth and presumably final Cruise-led Mission is due out June 28, 2024.
The logline for Part One reads: “Ethan Hunt (Tom Cruise) and his IMF team embark on their most dangerous mission yet: To track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan’s past closing in, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than his mission — not even the lives of those he cares about most.”
The cast for the new film includes Rebecca Ferguson, Hayley Atwell, Ving Rhames, Henry Czerny, Simon Pegg, Vanessa Kirby, Angela Bassett, Cary Elwes, Indira Varma, Rob Delaney and Charles Parnell.
Christopher McQuarrie, who has directed, written or produced a number of Cruise films, directed and co-wrote the script with Erik Jendresen; he also produces with Cruise. Executive producers are David Ellison, Dana Goldberg, Don Granger, Tommy Gormley, Chris Brock and Susan E. Novick.
Ewan McGregor and Alicia Vikander will receive the President’s Award at the 57th annual Karlovy Vary International Film Festival in the Czech Republic, KVIFF organizers announced on Tuesday.
Both performers will attend the opening weekend of the festival, which begins on June 30 and runs through July 8 in the spa town west of Prague.
Previously, the festival announced that Russell Crowe would receive the Crystal Globe Award and perform with his band on opening night, giving KVIFF an unusual three honorees on its opening weekend (with others to potentially be announced later).
McGregor will be in Karlovy Vary for a screening of “You Sing Loud, I Sing Louder,” a drama from director Emma Westenberg in which he plays a former addict who drives his estranged daughter to rehab after she has an overdose. The actor co-stars with his real-life daughter, Clara McGregor, who also served as one of the producers on the film.
Vikander will be there with “Firebrand,” a Karim Ainouz film which premiered in Cannes. It stars the Oscar-winning actress as Catherine Parr, the last wife of King Henry VIII of England, and Jude Law as the ailing king in his final days.
Additional programming for the 2023 Karlovy Vary International Film Festival will be announced in the coming weeks.
Anita Baker is standing up for herself in an online spat over Babyface’s slashed opening set during a May showing of her “Songstress Tour.” Baker has gone so far as publicly asking Babyface to tame his fanbase, claiming that his supporters have been bullying and threatening her online.
For some (much-needed) context, this all stems from Babyface’s feature as a surprise guest on Baker’s 15-city tour that kicked off earlier this February. He was slated to open her New Jersey concert on May 10 but took to social media after he did not appear at the Prudential Center. In a tweet, he explained that his set was tossed so that headliner Baker could perform since the show had a late start due to technical issues.
“I am truly sorry to my fans who have been waiting for us to hit the stage this evening at @PruCenter. I was asked not to perform in order to give Ms. Baker her space and time to perform her show in its entirety,” Babyface wrote on Twitter that night. “My band and I are extremely saddened we didn’t get to perform for y’all tonight.”
According to a long series of Baker’s tweets, she’s been dealing with hate from his fanbase ever since, and on June 9, she posted a tweet about Babyface’s silence in the matter.
“When A friend, is being attacked, by Your friends?…because, of Mis-information/fake news And, You have an Opportunity, to Say Something/Correct it? … It’s the Right thing to do,” she wrote, ending with “Reputation, Peace & Safety Matters.”
When A friend, is being attacked, by Your friends?… because, of Mis-information/fake news And, You have an Opportunity, to Say Something/Correct it? … It’s A Nice, thing. … It’s the Right? thing to do. Reputation, Peace & Safety Matters?? abxo? pic.twitter.com/nzE4Mk9PmQ
On Monday, Baker more pointedly addressed a tweet to Babyface (on Twitter this means slapping on an “@” sign before a name) and his followers — whom she’s dubbed “Kenny’s Crazies” — with the suggestion that he “call off” his boys. Responding to several fans, Baker attempted to clarify Babyface was a supporting act on her tour.
“Yes, Babyface is Special Guest/Support Act, on My Tour. This False Narrative, of A Co-headliner is creating Unrealistic Expectations & Aggression, from his fans towards me,” she wrote. “He should tell you guys, the Truth.”
Dearest one. You are Not, privy to *The Contracts*. Yes, Babyface is Special Guest❤️/Support Act, on My Tour. This False Narrative, of A Co-headliner is creating Unrealistic Expectations & Aggression, from his fans towards me. He should tell you guys, the Truth https://t.co/avBuMPO60bpic.twitter.com/oOeSVfg7DZ
Numerous spectators assumed Babyface was co-headlining the tour and figured his absence was a result of a decision that landed in the hands of the Detroit diva. Others who had secured tickets to the show aired out their grievances at Ticketmaster and Baker, though the tour which runs through December, is solely hers.
The assumption isn’t far-fetched as Babyface (real name Kenneth Brian Edmonds) has a highly-acclaimed catalog comprised of his own solo hits. He’s also written and produced chart-toppers for Usher, Whitney Houston, Toni Braxton, Bobby Brown, TLC, Beyoncé, Ariana Grande and more.
Variety has reached out to Babyface’s reps for comment.
Spider-Man: Across the Spider-Verseproducer Christopher Miller shared an encouraging online release update for the highly-talked-about sequel.
The hype surrounding Spider-Verse 2 has been high in the past weeks, especially after a strong box office performance and a wave of great reviews from fans and critics.
The consistent anticipation for the sequel has led many to wonder if the sequel will be made available online soon in order for fans to dissect many notable Easter eggs more closely.
When Will Spider-Verse 2 Release Online?
Marvel
One Take News shared a tweet saying that Spider-Man: Across the Spider-Verse will be available on all major digital platforms on July 18.
This prompted Spider-Verse 2 producer Christopher Miller to debunk the outlet’s claim, confirming that the sequel won’t get its online release “until August at the earliest:”
“This is not true. ‘Spider-Verse’ won’t release digitally until August at the earliest. Go see it on the big screen – you won’t regret it.”
Christopher Miller’s latest confirmation that Spider-Verse 2‘s digital release would be around August “at the earliest” indicates that the sequel will stay in cinemas for a while.
Given that the sequel’s digital premiere would be this August, it’s possible that Spider-Verse 2 will land online during the second or third week of that month, possibly even being held in theaters until September.
This serves as a promising update for fans who have yet to see the film and for those who want to watch it again to immerse themselves in the movie’s animated worlds.
Spider-Man: Across the Spider-Verse is still playing in theaters worldwide.
As Superman: Legacy is less than a year away from starting production, James Gunn teases new details about the Superman costume. A new era is coming from Warner Bros. Discovery when it comes to adapting DC characters from the pages of comics into the world of live-action. One of the projects in the works is Superman: Legacy, which is part of DC Studios’ Chapter 1, “Gods and Monsters,” with Gunn set to write and direct the reboot.
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With the Man of Steel getting reimagined for the big screen, there are several key aspects of this new Superman that will need to be figured out for the DC Universe. One of those is the iconic costume. Now, Gunn has shared an update on the new suit for Superman: Legacy, specifically one part of it. While they are designing different options for the costume, they have not decided whether Superman will have the infamous trunks.
The Superman trunks have always been a hot topic as many are divided on whether that element of his suit works today. In 2013’s Man of Steel, Henry Cavill’s Superman was the first live-action incarnation that skipped the trunks altogether.
How The New Superman Costume Might Differ From Henry Cavill’s
Given how many times the Superman costume has been reimagined, both in the comics and other media, there are a lot of directions Gunn’s reboot could go in terms of creating the next cinematic design. With Cavill’s Superman suit, the DCEU incarnation took a different route as it was a skinsuit and depicted as a formal Kryptonian garment. In most iterations, his uniform is either spandex or whatever fabric Martha Kent would use to make it.
For Superman: Legacy, it wouldn’t be shocking if they took some inspiration from Cavill’s version, but maybe also from Tyler Hoechlin’s Superman. The traditional tights wouldn’t work as well today as they did decades ago, especially given how far costume designing has come. A design in the middle between the DCEU look and Superman & Lois’ design would be the best of both worlds, where it doesn’t look completely like armor but has more structure than a regular spandex suit.
Once an actor has been cast as the new Superman, Gunn will then need to finalize the costume design. Given that they are getting deeper into the casting process, the world may soon have its new Superman. Hopefully, before Superman: Legacy starts filming, they will reveal a proper look of the new finished suit as they tackle the next live-action version of the DC icon.
The Ubisoft Forward showcase has come to an end, but IGN’s Summer of Gaming continues on. Ubisoft Forward 2023 brought updates on Assassin’s Creed gameplay, the new Avatar game, and the new Star Wars game.
If you’re wondering when and where you can watch the Ubisoft Forward stream yourself, we’ve got you covered with all of the details below, or you can check out our guide to all of the biggest announcements from Ubisof Forward 2023.
Ubisoft Forward 2023 Start Time
Ubisoft Forward kicked of on Monday, June 12 at 10 a.m. / 1 p.m. ET. The stream featured about 75 minutes of announcements, new gameplay footage, and live performances.
IGN will also be hosted a pre-show before the showcase starting at 8:30 a.m. PT / 11:30 a.m ET. We will also hosted a post-show directly after the stream ends for fans who want to stick around for our expert analysis of the showcase.
Where to Watch Ubisoft Forward 2023
If you want to watch the Ubisoft Forward 2023 stream for yourself, you can find it on the Ubisoft Twitch channel as well as their Youtube channel. You can also check watch the full stream in the video above, including our additional coverage of the event.
Ubisoft Forward 2023 Highlights
One of the biggest highlights of the Ubisoft showcase was the first big trailer we saw. We got our first real look and a release date for Avatar: Frontiers of Pandora, the upcoming game made in James Cameron’s universe. We also got a release date for The Crew Motorfest, which will be arriving as soon as September this year.
Perhaps the most exciting highlights of the show came at the very end. Star Wars Outlaws got a gameplay trailer that showcased the highly anticipated new Star Wars game.
Stewart was most recently interim CEO at Sheffield DocFest and commences in the role at IFFR on June 21. IFFR has a dual leadership structure where the managing director and festival director oversee the commercial and creative elements of the organization respectively, working in partnership. Stewart previously consulted with the IFFR board of directors in 2021 in its first phase of re-evaluation prior to her joining DocFest, with a focus on the IFFR program structure and content strategy.
Stewart’s previous stints also include serving as director of BFI Flare: London LGBTQIA+ Film Festival alongside her London Film Festival role; as festival director, Sydney Film Festival; and as the inaugural Head of Film Programs at the Australian Centre for the Moving Image.
Korrie Louwes, chair of the IFFR supervisory board, said: “Clare has an unparalleled breadth of experience in strategically directing, and truly championing festivals – with a track record including some of the foremost celebrations of cinema in the world. In previous roles Clare has channelled her unique combination of creative understanding and business acumen to growing audiences, accelerating commercial success, and raising the profile of those events – as well as steering them through change. It’s a great coup to have her join the IFFR team and bring her multifaceted and insightful leadership to our organisation.”
Stewart added: “IFFR is a world-leading institution that creates meaningful, global impact for independent film and filmmakers, and it is also dear to my heart as the first international film festival I attended 25 years ago. It shaped my understanding of the interdependencies between cultural activity and industry development, and the importance of engaging a dedicated local audience while positioning a festival as vital for the international, independent film sector. Rotterdam is a city renowned for innovation, experimentation and discovery – characteristics that IFFR already champions through its artistic and industry programmes. This emphasis on bold, new ideas provides a strong cultural base to collaborate with festival director, Vanja Kaludjercic on her inspiring vision for building a festival that is both agenda-setting and responsive to change. I am excited to work with the talented IFFR team, the supervisory board and IFFR’s committed partners and stakeholders to forge a bright future for one of the Netherlands’ true cultural assets.”
IFFR festival director Vanja Kaludjercic said: “I am excited to be welcoming Clare to the IFFR team, and to Rotterdam as she makes this incredible city her new home. She brings a deep understanding of the artistic and commercial sides of a festival from her formidable career to date, which is perfectly suited to the dual leadership dynamic we have between our two roles. Her passion for IFFR is undeniable, and the team and I look forward to working together with her on the upcoming 2024 edition and beyond.”
Barbarians are tanks in Diablo IV, dealing some of the greatest physical damage with the largest health pool out of any class, making some builds best against other players in PvP. By picking the right gear and skills, players have a chance to overcome this class’ weaknesses against strong opponents. Although no build is guaranteed to win all the time in PvP, the Barbarian has unique options that make players terrifying on the battlefield.
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Diablo 4 has two PvP zones in Sanctuary where players can challenge one another, called the Fields of Hatred. These large areas are essentially free-for-all combat regions, with one located in the west of the Dry Steppes near the town of Alzuuda and another that can be found in southern Kehjistan next to Gea Kul and Zarbinzet. While the towns in the Fields have no combat, players become “Bloodmarked” as soon as they enter, making them vulnerable to attack.
General Strategies for a Barbarian PvP Build
At their core, the Barbarian class wants to get close to enemies to deal massive physical damage, using abilities that cause debuffs and gear that provides Thorns. Many of the debuffs in Diablo 4, such as Vulnerable, Slowed, and Bleed, are all incredibly important to the Barbarian, allowing players to lock in their enemies or causing them to take far more damage than usual. Certain Legendary Aspects for the class also support these effects further from the Codex of Power.
Thorns are something Barbarians will universally want before going into PvP, with gear that supports a character that is at least level 20 or higher. Legendary gear past this point can usually provide either a great ability or tons of Thorns, which cause enemies to take damage when landing a hit on a Barbarian. Items like armors, rings, or shields have a high chance for greater Thorns, which can act as a passive defense buff for the class when going into PvP.
Best Skills for a Barbarian PvP Build
Shouts are skills players should invest in to create a truly competitive Barbarian PvP build in Diablo 4 since those abilities can provide powerful buffs to their character. While Bleed or Crowd Control builds are better for the PvE of the regular story or higher-level dungeon crawls, Shouts are better for massive health bonuses and DPS output. With other Passive skills supporting a strong Ultimate skill, players can create an unstoppable force that their opponents will have a hard time taking down.
Skill Type
Skills & Point Investment
Enhancement(s)
Basic Skills
(3/5) Lunging Strike
Enhanced Lunging Strike
Combat Lunging Strike
Core Skills
(5/5) Whirlwind
Enhanced Whirlwind
Violent Whirlwind
(3/3) Pressure Point
N/A
Defensive Skills
(3/3) Imposing Presence
(2/5) Rallying Cry
Enhanced Rallying Cry
Tactical Rallying Cry
Brawling Skills
(1/5) War Cry
Enhanced War Cry
Mighty War Cry
(3/3) Booming Voice
N/A
(3/3) Swiftness
N/A
(3/3) Aggressive Resistance
Weapon Mastery Skills
(3/3) Pit Fighter
(3/3) Slaying Strike
(2/3) Expose Vulnerability
(2/5) Death Blow
Enhanced Death Blow
Fighter’s Death Blow
Ultimate Skills
(3/3) Tempered Fury
(1/1) Wrath of the Berserker
Prime Wrath of the Berserker
Supreme Wrath of the Berserker
Key Passives
Unconstrained
N/A
The main goal behind these skills is to put the Barbarian into a Berserking state through either the Lunging Strike upgrade or the Wrath of the Berserker Ultimate. Many of the buffs here give the player health back, increased movement with skills like Rallying Cry, and massive damage through War Cry and other traits. Combined with this Barbarian build in Diablo 4, players can be a destructive machine, making opponents Vulnerable before finishing them off instantly with Death Blow.
Players may use the Unconstrained Key Passive to stay in a Berserking state for longer, dealing 25% increased damage while raging on the battlefield.
The only cons to this build is the over-reliance on Fury, the Barbarian’s primary resource. Although Berserking lets players form many resistances and regain health, they will still be using Fury on the Shouts and Whirlwind, the latter consuming tons of Fury to last longer. Thankfully, the Invigorating Fury and Tempered Fury skills help players out in Diablo 4, giving an increased resource pool and recovered health when they spend enough Fury.
Best Gear for a Barbarian PvP Build
Gear
Item Type
Imprint/Effect
Sovereign Helm of Disobedience
Helm
Aspect of Disobedience – You gain increased armor for 4 seconds when you deal any form of damage, stacking a number of times.
Razorplate
Chest Armor
N/A
Gohr’s Devastating Grips
Gloves
Unique Item Effect – Whirlwind explodes after it ends, dealing [16-26]% of the total Base damage to surrounding enemies as Fire damage.
Temerity
Pants
Unique Item Effect – Effects that Heal you beyond 100% Life grant you a Barrier up to 76% of your Maximum Life that lasts for 8 seconds.
Conceited Aspect – Deal increased damage while you have a Barrier active.
Lich Blade of the Dire Whirlwind
Sword (Slashing)
Aspect of the Dire Whirlwind – Whirlwind’s Critical Strike Chance is increased for each second it is channeled, up to a certain percentage.
Smiting Flammard
Sword (Slashing)
Smiting Aspect – You have increased Critical Strike Chance against Injured enemies. While you are Healthy, you gain a percent increase of Crowd Control duration.
Death Wish Demonblade
Two-Handed Sword (Slashing)
Death Wish Aspect – Gain X Thorns while Berserking.
Bold Chieftan’s Circle
Ring
Bold Chieftan’s Aspect – Whenever you cast a Shout Skill, its Cooldown is reduced by a number of seconds per Nearby enemy, up to a maximum of 6 seconds.
Ring of Echoing Fury
Ring
Aspect of Echoing Fury – Your Shout Skills generate an amount of Fury while active.
Needleflare Necklace
Amulet
Needleflare Aspect – Thorns damage dealt has a percent chance to deal damage to all enemies around you.
This gear set, shown in a video by content creator Mattjestic MultiGaming, highlights how strong the Barbarian can get in Diablo 4‘s PvP with the right tools. Players should focus on the Aspects listed here since they will have to unlock them in the Codex of Power by progressing the main story or finishing certain dungeons around Sanctuary before imprinting them onto gear.
Many of these gear pieces provide players with Thorns and increase Movement Speed, Healing, and many different types of Damage Reduction. While the Unique items are only found in World Tier 3 of Diablo 4 and above, players can find similar Aspects from the Codex of Power that could also serve a similar role for Legendary items they already have.
Best Paragon Board Paths for a PvP Barbarian Build
Paragon Boards are an excellent opportunity for players to invest in Glyphs to flush out their build beyond the Skill Tree. Here, players should focus on Bleed abilities that alter the Barbarian with another strong status effect against enemies. The build shown off here does a good job keeping the player alive, but rending opponents apart gradually with Bleed adds an extra layer to this strategy in Diablo 4.
Alternatively, players could invest more into the Barbarian’s mobility to chase down more elusive classes like the Rogue in the Fields of Hatred. No matter what path players choose, their Barbarian build for PvP in Diablo IV; the class has some of the best skills and abilities seen in this mode, making them nearly unstoppable in the right situations.
Editor’s Note: A lawsuit has been filed against Activision Blizzard by the California Department of Fair Employment and Housing, which alleges the company has engaged in abuse, discrimination, and retaliation against its female employees. Activision Blizzard has denied the allegations. The full details of the Activision Blizzard lawsuit (content warning: rape, suicide, abuse, harassment) are being updated as new information becomes available.
PlayStation 4, Xbox One, PlayStation 5, Xbox Series X/S, Microsoft Windows
Released:
2023-06-02
Developer:
Blizzard Team 3, Blizzard Albany
Publisher:
Blizzard Entertainment
Genre:
Action RPG, Hack and Slash
Multiplayer:
Blizzard Entertainment
ESRB:
M
Summary:
Players are set to return to the world of Sanctuary in Diablo 4. Set after the events of Diablo 3’s Reaper of Souls DLC, Lilith, the daughter of Mephisto, has been summoned to the world and has assumed power in the absence of demons and angels. Lilith establishes Sanctuary as a haven for refugees caught in the crossfire between hell and heaven. Wanting to protect her kind from the recently emerged Nephelem, Lilith is banished to the void. Now she has returned, seeking revenge for the crimes committed against her. Players will choose between staple class choices, such as Barbarian, Sorceress, Druid, Rogue, and Necromancer, as they battle alone or together against Lilith’s forces.
Feluda first appeared in the Ray family’s Bengali-language magazine Sandesh in 1965. Ray directed two Feluda films, “The Golden Fortress” (1974) and “The Elephant God” (1978), where the Bengali detective was played by his frequent collaborator Soumitra Chatterjee. Feluda has subsequently been played by a range of Indian actors, including Shashi Kapoor, Abir Chatterjee, Tota Roy Chowdhury, Indraneil Sengupta and Bangladesh’s Ahmed Rubel.
The detective is part of the fabric of growing up in West Bengal and Bangladesh, akin to what Sherlock Holmes, Hercule Poirot or Miss Marple used to be for several generations in the west.
Chattopadhyay first interpreted the detective in 2017 for series “Feluda” for Bangladesh’s Bioscopelive which he directed and also played Feluda. “It was a very radical interpretation of a classical piece of literature,” Chattopadhyay told Variety.
The 2017 “Feluda” was a modestly budgeted affair and Chattopadhyay was on the lookout to interpret the detective again “with a little more wherewithal, with a little more bandwidth,” he said. The opportunity arrived in the shape of ZEE5 Global, with each episode of “Shabash Feluda” budgeted at what the entire eight-episode series “Feluda” cost.
“The interpretation in the current scenario, was a little less radical than what we did [earlier], because the platform and we both thought that, let’s try a middle road,” Chattopadhyay said. “Shabash Feluda” is directed by Arindam Sil, who has made several films featuring the other great Bengali detective Byomkesh Bakshi, created by Sharadindu Bandyopadhyay. It is produced by Chattopadhyay and Aritra Sen for Roadshow Films and Ashok and Himanshu Dhanuka for Eskay Movies.
In the Feluda stories, the detective is usually accompanied by his cousin and assistant Tapesh Ranjan Mitter, known as Topshe. Chattopadhyay previously played Topshe in three Feluda films. “While I was playing Topshe in those three films, I used to try and envision how Feluda can be for the new generation. This was an attempt to showcase that,” Chattopadhyay said.
Given the character’s history and immense popularity, playing Feluda comes pre-loaded with the baggage of massive expectation and Chattopadhyay says “the audience completely got polarized into two halves.”
“On one hand, there was a lot of appreciation. On the other hand, there was a lot of backlash as well. And we were completely prepared – Feluda is one of those rare icons or heroes that the Bengalis have got ever since independence. They identify a lot of a lot with him, they want to see themselves succeeding through Feluda,” Chattopadhyay said. “The backlash that happened actually made the series very popular in the sense that people started watching it in huge numbers, which was great. A lot of them really said very, very bad things about it. A lot of them said great things about it. But the fact was, there was incredible amount of engagement. And that’s all that we wanted.”
The series was always envisioned as running across multiple seasons and the massive success of the first one means that the plan remains intact.
Meanwhile, Chattopadhyay, who has more than 100 film and TV credits, including his national breakout role in “Kahaani,” has a busy slate ahead. He has completed filming season 2 of Prime Video’s thriller series “Mumbai Diaries” and detective drama “P.I. Meena.” In addition, there is social drama-comedy film “Avasthi vs Avasthi,” which he has also just completed, and another film, supernatural thriller “Walker House” is nearly complete.
Chattopadhyay is also producing and directing a supernatural horror series, currently titled “Parnashabarir Shaap.” Later this week he will commence an acting role in Kaushik Ganguly’s social satire “Asukh Bishukh.”
In 2013, Chattopadhyay had directed and starred in hit comedy film “Hawa Bodol” and is planning to start shooting a sequel in August or September. Season 2 of hit Netflix thriller series “Aranyak” is due to start production at the end of the year. “Matsa Sudha,” a series for ZEE5 Global is on the cards, as are two more indie films as a director.
Producer Lorenzo di Bonaventura has explained why Marvel actor Chris Hemsworth is taking over as the voice of Autobot leader Optimus Prime from voice acting icon Peter Cullen in the upcoming animated outing, Transformers One. Speaking with Collider, di Bonaventura heaped praise on Hemsworth’s vocal prowess, and revealed why they deemed it necessary for a different actor to voice the younger version of Optimus that will lead Transformers One.
“When we first listen to Chris Hemsworth’s voice, you’re like, ‘God, is he gonna be a good Optimus!’ Obviously, he starts as Orion Pax and you don’t become Optimus for a while, so he’s not playing, for most of the movie, what we think of as Optimus, Peter Cullen.”
As di Bonaventura puts it, it is because of this “transition” that Hemsworth was cast, with the Thor star’s voice believably evolving into Peter Cullen’s as time and the character progresses.
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“So it’s that transition, and Chris’s voice has a timbre that…it’s logical that Peter Cullen would take over that voice, if you would, which is really great, the fans are gonna really feel great.”
Directed by Josh Cooley and written by Andrew Barrer and Gabriel Ferrari, Transformers One will take place on Cybertron and tell the origin story of the Autobots and the Decepticons, centering on the relationship between Optimus Prime and Megatron.
The animated prequel has amassed an A-list cast alongside Chris Hemsworth, with Oscar nominee Brian Tyree Henry voicing Megatron. The rest of the cast includes Keegan-Michael Key as Bumblebee, Jon Hamm as Sentinel Prime, Laurence Fishburne as Alpha Trion, and Scarlett Johansson as Elita.
“But Scarlett [Johansson] is amazing, and it’s just coming alive in a way that it’s really rewarding, and we had confidence in our director, and all he’s doing is giving us more and more.”
It May Be a While Before We See Anything From Transformers: One
Sunbow Productions/Marvel Productions
Despite these updates, it may be a while before we actually see anything from Transformers One. Though Lorenzo di Bonaventura is excited to show-off what ILM have achieved…whenever that might be.
“I don’t know about when we’ll see it. It’ll be a while. I can’t tell you how excited I’m getting about it. It’s one of those things that like, it just keeps progressing in the right direction, you know? You never know, sometimes when you’re making a movie, you’re, like, ‘Well, I think it’s working.’ Everything I’m seeing is working and it’s exceeding my sense of what it was gonna be, so I’m really excited about it. It is a very fresh and different look, I would say different than any animated movie you’ve seen, which is a high bar to set, but ILM is capable of delivering it.”
For now, audiences can embark on another adventure with Optimus Prime in the live action outing, Transformers: Rise of the Beasts. The 90s set semi-reboot finds Optimus Prime and the Autobots taking on their biggest challenge yet when a new threat capable of destroying the entire planet emerges. Optimus and his team must team up with a powerful faction of Transformers known as the Maximals to save Earth. Directed by Steven Caple Jr. from a screenplay by Joby Harold, Darnell Metayer, Josh Peters, Erich Hoeber, and Jon Hoeber, Transformers: Rise of the Beasts stars Anthony Ramos, Dominique Fishback, Ron Perlman, Peter Dinklage, Michelle Yeoh, Liza Koshy, Michaela Jaé Rodriguez, Pete Davidson, John DiMaggio, David Sobolov, and franchise icon Peter Cullen.
Transformers One is currently scheduled for release on September 14, 2024.
America’s most famous juror is hitting the courtrooms to feed a few more Southern California citizens doing their civic duty. Ronald Gladden, the unsuspecting real-life star of Amazon Freevee’s “Jury Duty,” will join some of the show’s cast members to had out tacos this week near various Los Angeles County courthouses.
This week on Wednesday, Thursday and Friday, “Jury Duty” will be handing out free tacos to jurors (and well, whomever shows up at the truck) in Beverly Hills, Studio City and Venice. The taco truck Emmy FYC stunt is inspired by a scene in the show’s first episode, “Voir Dire,” when James Marsden buys tacos for the jurors “in lieu of selfies.”
“The idea for Jury Duty began with the intention to remind us that human kind has the ability to surprise and delight us, even in the most unconventional situations,” said “Jury Duty” exec producer David Bernad. “And in turn, the audience has been the one to surprise and delight us with the overwhelming support and enthusiasm for the show. We just wanted to show a little appreciation to those who have embraced our comedy series.”
Here’s where the tacos will be given out:
Wednesday, June 14: 3981 Laurel Canyon Blvd, Studio City, CA 91604
Breakfast: 8 a.m. to 10 a.m. and Lunch: 12 p.m. to 2 p.m.
Thursday, June 15: 322 Foothill Road, Beverly Hills, CA 90210
Breakfast: 8 a.m. to 10 a.m. and Lunch: 12 p.m. to 2 p.m.
Friday, June 16: 1515 Abbot Kinney Blvd, Venice, CA 90291
Lunch: 11:30 a.m. to 2 p.m.
Created by Lee Eisenberg and Gene Stupnitsky, the series follows the inner workings of a jury trial through the eyes of Gladden, a solar contractor from San Diego, who is unaware that his jury duty summons was not official and everyone on the jury aside from him, is an actor.
As Variety wrote last month, Amazon planned to submit the eight-episode inaugural season for the Emmy comedy categories, seeking recognition in over a dozen key races including acting, writing and directing.
All eight episodes of “Jury Duty” are streaming now on Amazon Freevee, with a special cast commentary edition now also available.
Model/Actriz have announced a 2023 fall tour in support of their debut album, Dogsbody, which came out back in February. Beginning late July in California, the tour will bring the band across North America and Europe before concluding in November over in Portugal. Find their full itinerary below.
The noise-rock band has also rolled out a remix of the Dogsbody song “Amaranth” by electronic composer Mmph, which you can listen to below. The two acts originally met during their first-ever show in 2016, when both played a basement in Boston together. “This remix really completes a full circle moment for us,” explained Model/Actriz.
07-28 San Diego, CA – Whistle Stop Bar 07-29 Santa Ana, CA – Constellation Room 07-30 Los Angeles, CA – Sound & Fury Festival 08-03 Albany, NY – No Fun 08-04 Newark, NJ – QXT’s Nightclub 08-05 Queens, NY – Outline: Summer 09-06 Baltimore, MD – Metro Gallery 09-07 Richmond, VA – Richmond Music Hall 09-08 Raleigh, NC – Hopscotch Music Festival 09-09 Charlotte, NC – Snug Harbor 09-13 Nashville, TN – DRKMTTR 09-20 Oklahoma City, OK – Resonant Head 09-22 Houston, TX – Black Magic Social Club 09-23 Austin, TX – TBA 09-30 San Francisco, CA – Portola Music Festival 10-03 Salt Lake City, UT – The Urban Lounge 10-06 Ft Collins, CO – The Coast 10-07 Denver, CO – Lost Lake 10-09 Omaha, NE – Reverb Lounge 10-10 Lawrence, KS – The Bottleneck 10-11 St Louis, MO – Off Broadway 10-13 Iowa City, IA – Infinite Dream Festival 10-14 Minneapolis, MN – Icehouse 10-15 Chicago, IL – The Hideout 10-16 Grand Rapids, MI – The Pyramid Scheme 10-18 Toronto, Ontario – The Garrison 11-02 Turin, Italy – C2C Festival 11-04 Manchester, England – Yes Pink 11-05 Glasgow, Scotland – King Tut’s 11-06 Birmingham, England – Hare & Hounds 11-07 Bristol, England – Dareshack 11-08 London, England – Fabric 11-10 Brighton, England – Club Revenge 11-11 Kortrijk, Belgium – Sonic City Festival 11-12 Utrecht, The Netherlands – Le Guess Who? Festival 11-13 Cologne, Germany – Helio37 11-15 Paris, France – Point Éphémère 11-16 Basel, Switzerland – Gannet 11-18 Benidorm, Spain – Primavera Weekender 11-20 Lisbon, Portugal – ZDB
The original title of Scream Of The Wolf was Wolf Manor, and to be honest, that was probably the better name for it. Directed by Dominic Brunt and written by Joel Ferrari and Pete Wild, the comedic horror film wears its inspiration on its sleeve, directly quoting An American Werewolf In London and alluding to several other genre offerings about making a horror movie such as Shadow Of The Vampire and The Editor. Then throw in a bit of The Howling for good measure. So is there anything original here, or are the filmmakers just pilfering from their favorite titles?
Producer Peter (Stephen Mapes) is scrambling about the set of Crimson Manor because the production should have left the location by now. But due to the director’s inability to control the washed-up “star,” Oliver Laurence (James Fleet), shooting at this rural Shropshire farm has proven difficult. But, to drum up interest and keep Oliver on his toes, two press members have been invited to do a story on the vampire movie being shot. It also helps that assistant director Fiona (Thaila Zucchi) is very good and patient with the past-his-prime horror icon.
“…begins taking out crew members and extras left and right.”
Unfortunately, the reporters’ long trek by foot, as the cab will only go so far due to horrifying legends surrounding the land, is a literal dead end… as in a werewolf kills them. Soon enough, this creature makes its way to the production underway and begins taking out crew members and extras left and right. Can Oliver stay sober long enough to figure out how to survive? Is there a way for anyone to outmaneuver the bloodthirsty werewolf and live through the night?
Scream Of The Wolf is not original. If a viewer is familiar with Slaughter Studios or Reel Evil, the story and most of the characterizations won’t be new whatsoever. The characters are all one-note and a little dull. Well, with the exception of Fiona, who steals every scene she’s in. There’s a wonderful scene where she needs Oliver (the next most interesting person) to move from this one spot because the werewolf is not far away. He really doesn’t want to, so she says the AD’s job is “to get the actors where they need to be on set when they need to be there” or something similar. It is a touching line because no matter how obstinate the old man has been, she still has to make sure he’s taken care of. More little moments like this are needed to flesh the others out.
But the flick offers fun in several places. For starters, a lot of the jokes are well-placed and funny. Yes, the humor does send up pompous actors, bad directors, and the like in ways that have been done before. It may be low-hanging fruit, but through comedic timing and a sense of fun, most of the punchlines land.
Brit woman, 24, claims she was raped by two 19-year-olds who filmed their act in hotel room after she had consumed ‘large amount of alcohol’ on Greek holiday island of Crete
The 24-year-old said she was raped by a pair of 19-year-olds who are also Brits
She told police the teenagers filmed the act and Greek officers arrested the pair
Two teenagers were arrested in Greece yesterday after a British woman told police they raped her and videotaped the act after a drunken night out.
The 24-year-old unidentified Briton claimed the two 19-year-olds took advantage of her inebriated state in her hotel room in Rethymno on the Greek island of Crete.
She alleged the pair, who are also British, filmed the sexual assault.
It is not clear whether the trio knew each other prior to the night leading up to the alleged rape.
Greek police yesterday arrested the two unidentified teens on suspicion of rape, while the 24-year-old was taken to a medical examiner to undergo medical tests.
MailOnline has contacted the Foreign Office for comment.
The 24-year-old unidentified Briton claimed the two 19-year-olds took advantage of her inebriated state in her hotel room in Rethymno (pictured) on the Greek island of Crete
The Federal Trade Commission sued Microsoft on Monday to stop the company from closing its $69 billion purchase of the video game powerhouse Activision Blizzard, escalating the federal government’s efforts to stymie the largest consumer technology deal in decades.
In the lawsuit, filed in the U.S. District Court for the Northern District of California, the F.T.C. said the move was necessary because “Microsoft and Activision have represented that they may consummate” the deal. It asked the court to issue an order blocking the acquisition’s closing by the end of the day onThursday.
The lawsuit is the latest blow to Microsoft’s purchase of Activision, which makes popular video games like Call of Duty and Candy Crush. Last year, the F.T.C. sued to block the deal through an in-house court, arguing it would damage competition in various parts of the video game market. The agency filed the separate lawsuit because unlike the F.T.C.’s in-house court, a federal court can issue a restraining order to stop a purchase from being completed.
Regulatory hurdles have piled up against the blockbuster deal, which has become a test for whether behemoth tech companies can complete major acquisitions amid backlash to the firms’ growing power. In April, the British Competition and Markets Authority also moved to stop the deal, though regulators in the European Union said in May that it could go forward.
Governments around the world have been challenging the power of tech giants like Microsoft. The F.T.C. has accused Meta, Facebook’s parent company, of shutting off nascent competitors and has been investigating whether Amazon ran afoul of antitrust laws. The Department of Justice has filed multiple lawsuits arguing that Google has committed antitrust violations of its own.
Microsoft has appealed the British ruling to block the Activision deal and has pledged to fight the F.T.C. in court. The two companies had said they hoped the purchase would close by July.
The British portions of the deal cannot close while Microsoft’s appeal moves forward. If a federal court grants the F.T.C.’s demand to stop the deal, it would also prevent Microsoft from completing the transaction in the United States.
Bill Baer, a former top government antitrust official, said the F.T.C.’s lawsuit was a response to the risk that Microsoft would try and circumvent the British ruling and “cause the injury the F.TC. is worried about” by closing the deal elsewhere.
Victoria Graham, a spokeswoman for the F.T.C., said in a statement that “Microsoft and Activision have not provided assurances” that they would not close the deal.
In a statement, Brad Smith, the president of Microsoft, said the company welcomed the “opportunity to present our case in federal court.”
Bobby Kotick, the chief executive of Activision, said in a note to employees that the company welcomed the news because it “accelerates the legal process.” He added: “We will now have the opportunity to more quickly present the facts about our merger.”
If Microsoft ushers the deal through, it would be a monumental moment for the $184 billion gaming industry. Microsoft earns billions of dollars each year in the video game business, but competitors like Nintendo and Sony — which makes the PlayStation console — have long been considered to have a better catalog of games that attract players to their devices. Adding Activision and its slate of gaming studios to Microsoft’s Xbox consoles and its games subscription service could even the playing field.
Lina Khan, the F.T.C. chair, has made blocking corporate deals a cornerstone of her strategy to rein in the tech giants and other big companies. The chip maker Nvidia and the defense contractor Lockheed Martin have dropped proposed deals after they were challenged by the F.T.C. under Ms. Khan.
Attempts to block other deals have been less successful. Last year, the F.T.C. tried to stop Meta from buying Within, a start-up that makes a virtual reality fitness game. A federal judge declined to stop the deal from closing, and the F.T.C. dropped its broader challenge to the purchase.
Microsoft has worked to gain approval from regulators for the Activision acquisition. Since announcing the deal a year and a half ago, the company has embarked on a charm offensive, meeting with regulators around the world and cutting deals with other gaming companies to assuage concerns that the deal would reduce availability of Activision’s games and raise their prices.
But those moves failed to persuade the British and American regulators to approve the deal. The new lawsuit by the F.T.C., analysts said, could be an effort by the United States to regain some prominence in the legal fight, as well as an acknowledgment that Microsoft could close the deal despite Britain’s objections.
“The F.T.C. is reaffirming how adamant it is about blocking this deal,” said Joost van Dreunen, a gaming analyst and professor at New York University. “They want to make sure that they are still driving the bus in this.”
Karyn Kusama scored an Emmy nomination in 2022 for directing the pilot of Showtime’s Yellowjackets. Now there is talk she could repeat that feat this season for her return to the directing chair for the drama’s shocking Season 2. As an executive producer of Yellowjackets, she has had a significant impact on its continually building popularity, and she is proud of it because it is just another example of her career-long effort to tell stories revolving around women. In fact, all but one of the movies she has directed had a female protagonist at their center.
Kusama joins me for the latest episode of my Deadline video series Behind the Lens, where we talk not only about why Yellowjackets is working but also how it has grown to be a significant hit for Showtime. We also cover the waterfront of her successful filmography, beginning at the turn of this century when she directed and wrote the 2000 Grand Jury Sundance prize winner Girlfight, which also won her the Best Director award there. Since then she has alternated with indie films such as The Invitation and Nicole Kidman-starring Destroyer and star-filled major-studio projects including 2005’s Aeon Flux and 2009’s Jennifer’s Body. The latter has gathered quite a cult following since its initial release and was the follow-up script for Diablo Cody following her Oscar-winning screenplay for Juno.
We also talk about Kusama’s impressive TV résumé with directing gigs on such shows as Billions, The Man in the High Castle, Halt & Catch Fire, The L Word, Masters of Sex and Casual. Along with Yellowjackets, also has directed episodes this season for Dead Ringers, with Rachel Weisz in dual roles, and The Consultant.
Additionally we talk about the state of directing itself. Kusama just served on the negotiating committee for the Directors Guild and tells me the experience was eye-opening in earning what she characterizes as a “historic contract.”
To watch our conversation click on the video above.
Join me every Monday and Friday during Emmy season for another episode of Behind the Lens.
For 12 straight weeks recently, the country star Morgan Wallen dominated the Billboard album chart, but others are now breaking through. Last week, Taylor Swift returned to the top with deluxe versions of her latest album, “Midnights,” and this week the K-pop group Stray Kids scores its third No. 1 album in 15 months with “Five-Star.”
A barrage of collectible CD releases — 18 in all — sent the eight-member Stray Kids to No. 1. “Five-Star,” with 12 tracks sung mostly in Korean, opens with the equivalent of 249,500 sales in the United States, 231,000 of those on CD, according to the tracking service Luminate.
The album was also credited with nearly 20 million streams. To put that number in perspective, on last week’s singles chart Wallen had 33 million clicks for his No. 1 song “Last Night” — just one of the 36 tracks on his album, “One Thing at a Time,” which holds at No. 2 this week. (Swift’s “Midnights” falls four spots to No. 5.)
The success of Wallen, Swift and Stray Kids is also notable in that all three share the same record label: Republic Records, a division of the giant Universal Music Group. Counting releases by those artists and another in February by the K-pop group Tomorrow X Together, Republic has now held the No. 1 spot for 15 of the 23 weeks of the year so far.
A clutch of new releases are in the Top 10. In third place is “Whitsitt Chapel” by Jelly Roll, the face-tattooed rapper-turned-country singer who has become the toast of Nashville. Enhypen, another K-pop act, lands at No. 4 with “Dark Blood.”
The soundtrack to “Spider-Man: Across the Spider-Verse,” by the star hip-hop producer Metro Boomin — with guest appearances by Offset, ASAP Rocky, Future, Lil Uzi Vert, Lil Wayne, 21 Savage and many others — opens at No. 7. And Foo Fighters’ “But Here We Are,” the band’s first since the death of its drummer Taylor Hawkins last year, starts at No. 8.
Priyanka Chopra’s net worth is reportedly Rs 577 crore.
Aishwarya Rai is the richest actress in Bollywood, as per reports.
Bollywood is one of the biggest entertainment industries in the world. Its actors and actresses are paid huge amounts for their hard work and efforts. Amid various instances of pay disparity in the industry, several actresses have still managed to have a staggering net worth. They have mesmerised the audience through their fantastic acting abilities and other business ventures. From big-budget films to production houses and multiple endorsements, these actresses have maintained their star power, which has helped them earn millions of dollars.
Here’s a list of some Bollywood actresses with their net worth:
Shilpa Shetty: Shilpa Shetty has charmed the audience through her acting abilities and exceptional dance. From owning an IPL team to running a successful restaurant in the hub of Mumbai, Shilpa has been involved in various ventures. According to reports, the actress has a net worth of Rs 148 crore.
Katrina Kaif: Katrina Kaif is one of the leading actresses in the Hindi film industry. She has been a part of some of the biggest projects in Bollywood. Apart from that, she also owns a successful beauty and skincare brand. She has also been involved in several endorsements. Reportedly, the actress has a net worth of Rs 164 crore.
Madhuri Dixit: Madhuri Dixit was once one of the biggest stars in Bollywood. The whole country became a fan of her beauty and dancing skills when the actress did various superhit films in the 1990s. Her net worth is around Rs 280 crore, according to reports.
Deepika Padukone: Deepika Padukone became a big name in the industry with her debut film, Om Shanti Om. Currently, the actress is enjoying a successful year with the release of Pathaan. According to reports, her net worth is around Rs 330 crore.
Priyanka Chopra: Former Miss World and Bollywood superstar Priyanka Chopra has now settled in the USA after a successful stint in Bollywood. The actress has been a part of some of the biggest films and web series and enjoys a huge fan following. Reportedly, the actress has a net worth of Rs 577 crore.
Aishwarya Rai: Aishwarya Rai is the richest actress in Bollywood, as per reports. Even though she does fewer films, she still has a net worth of more than Rs 824 crore.
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The “F” in Lil Wayne’s nickname Weezy F. stands for a lot of things — free, finisher, follow me straight to my condo. Now, sadly, we might add “forgetful.”
In a recent interview with Rolling Stone, Lil Wayne admitted he didn’t recall the details of his acclaimed “Tha Carter III.”
“I’m going to be so honest with you: I don’t know ‘Tha Carter III,’ ‘Tha Carter II,’ ‘Tha Carter One’ from ‘Tha Carter IV,’” he said when journalist Andre Gee asked him what role he felt the album played in his discography. “And that’s just my God’s honest truth. You could lie, you could ask me [about] such and such song, I wouldn’t even know what we talking about. So it holds no significance to me at all.”
The album, which dropped 15 years ago, houses some of the New Orleans star’s most transcendent hits, such as “Mrs. Officer,” “A Milli” and “Lollipop.” The latter two won 2008 Grammy Awards, for best solo rap performance and best rap song, respectively. The album was nominated for album of the year and won best rap album. With eight nominations, Lil Wayne was the most nominated artist that year.
Even with the above accomplishments in 2008, Wayne said the year didn’t stand out among the rest because he’s working too hard to look up.
“Nah, I don’t even know if that’s when ‘Tha Carter III’came out,” he told Rolling Stone. “I work every day, bro — every single day. And also … I believe that [God] blessed me with this amazing mind, but would not give [me] an amazing memory to remember this amazing s—.”
The memory loss could be chalked up to a massive catalog of songs — and years of nonstop work. The rapper opened up in 2013 about overwork and its effect on his epilepsy: “The reason being for the seizures is just plain old stress, no rest and overworking myself,” he said.
Since “Tha Carter III,” the 40-year-old has released more than 20 albums and mixtapes, and he revealed to the outlet that his computer drive dating back to 2010 contained a number of songs that it “isn’t even possible to even fathom. You probably got a million songs in one year.”
Rather than dwell on the past, Lil Wayne, born Dwayne Carter, has his eye on the future. He’s finalizing his second collaborative album with rapper 2 Chainz, “ColleGrove 2.” And he’s doing more skateboarding. The Times wrote in 2012 about the rapper’s brief break from music to focus on skating: “I picked up the skateboard and I thought it’d be a hobby and what happened is it’s a lifestyle,” he said at the time.
Wayne wasn’t giving up information on his “Carter VI” album in his recent Rolling Stone profile, but he did tell the outlet he would release a vinyl record for the 15th anniversary of “Carter III” this year.
These 10 Spider-Man heroes, villains, and side characters are illegal for Marvel Studios to use in its MCU movies and live-action shows.
It’s funny to think that when Sony Pictures bought the film rights to Spider-Man back in 1998, it did so for just a reported $7 million from a bleeding Marvel on the brink of bankruptcy. And across the many movies released in the 25 years since, the studio has managed to turn over billions of dollars.
Alas, a deal struck in a moment of desperation still haunts Marvel many years later, with the studio still unable to freely use Spider-Man characters in the MCU.
That said, a deal established between Sony and Marvel Studios in 2015 does allow Spider-Man to occasionally play in the MCU in exchange for the superhero giant assisting in producing Tom Holland’s wall-crawler movies. This includes a few of its more recognizable characters within them.
These Spider-Man Characters Are Illegal for Marvel Studios To Use
Sony Pictures maintains a list of Spider-Man-related characters that the studio owns exclusive theatrical rights to, therefore making it illegal for them to be used in Marvel Studios movies without permission from Sony.
As Sony and Marvel Studios have reached deals since then to bring Spider-Man to the MCU in 2015 and later to keep him around in 2019, certain details may have seen amendments made since the information became known.
Here are 10 major names from the massive list of known 684 characters that are illegal for Marvel Studios to use in its movies and live-action shows.
1.) Jessica Drew (Kind Of)
Marvel
Jessica Drew has gone by a number of aliases over the years, and three of them – Archane, Dark Angel, and Ariadne Hyde – are listed, with her Spider-Woman moniker curiously absent.
As a young girl, Drew gained her spider powers as a result of a desperate life-saving experiment by her father. Years later, she would go on to spend time as a member of HYDRA before rebelling against them, eventually going on to spend time with the New Avengers, SHIELD, and SWORD.
Due to her connections to these groups, Drew is among the characters shared with Marvel Studios, who, according to previous reports, is only allowed to use her devoid of her Spider-Man-related elements. It’s unclear whether this list may indicate that she can actually appear as Spider-Woman.
2.) Mary Jane “MJ” Watson
Marvel
The MCU delivered some major changes to the traditional Mary Jane Watson, with Zendaya’s love interest instead called Michelle Jones-Watson.
MJ is specifically referred to in relation to her time as Spider-Woman. However, it’s unlikely that would ever be touched in any form by Marvel Studios or Sony as that storyline was brief and took place in an alternate universe.
After Spider-Man: No Way Home ended with MJ and Ned on their way to study at MIT, many speculated the pair may find their way into Disney+’s Ironheart as Riri Williams studies at the same school. However, Sony’s exclusive ownership of these characters makes that theory almost impossible – as cool as that would be.
The inability to use Michelle Jones is certainly a kick to Marvel Studios, as Zendaya is such a major star, the studio would undoubtedly love to have her showing up in more projects such as something like Ironheart.
3.) Kaine
Marvel
Kaine was a failed clone of Peter Parker who faced slow genetic deterioration and developed his own suit to slow down the unfortunate process. He quickly developed a hatred for his clone brother Ben Reilly, the Scarlet Spider, a mantle he later took on after Ben’s death.
The character of Kaine recently made a cameo and his big screen debut in Across the Spider-Verse but has yet to come to live-action. With no sign of Sony looking to touch the Clone Saga anytime soon, and certainly not in Tom Holland’s next trilogy, it’s unlikely he will be taking on a significant on-screen role in the near future.
4.) Black Cat
Marvel
In many ways, Black Cat is to Spider-Man what Catwoman is to Batman – a supervillain cat burglar who eventually develops a relationship with the hero and becomes a close ally. The relationship between Black Cat and Peter Parker fell apart as her interest was more in the hero than the man behind the mask.
Felicia Hardy made her live-action debut in The Amazing Spider-Man 2 (played by Felicity Jones) as a set-up for her Black Cat future. With the MCU’s Peter Parker entering his street-level era and having lost all memory of Zendaya’s MJ, perhaps now is the time for him to cross paths with Black Cat.
5.) Norman & Harry Osborn
Marvel
Both Norman and Harry Osborn, as well as Oscorp, are, unfortunately, off-limits to Marvel Studios due to their roots in the Spider-Man mythos. This is particularly unfortunate in the case of Norman and Oscorp, who often entangle their way into the wider Marvel universe and even the stories of the Avengers.
In terms of Tom Holland’s Spider-Man franchise, his movies currently have little use for new versions of those characters, given Ned Leeds has filled Harry’s role as Peter’s best friend and he just fought Willem Dafoe’s Green Goblin anyway.
6.) Hammerhead
Marvel
The villainous Hammerhead is a prominent mobster in the Spider-Man mythos, who had his head filled with steel after an accident. This game him a rather flattened shape but also near-indestructibility, making him a tough foe for Peter Parker.
As Hammerhead comes as one of the more street-level characters for Spider-Man, he may well show up in his next trilogy, perhaps with some ties to Kingpin. But regardless of any affiliation he may have with the MCU’s Kingpin, his role won’t be able to cross beyond Sony and Marvel Studios’ shared Spider-Man movies.
7.) Ned Leeds
Marvel
Looking at the Spider-Man characters introduced to the MCU so far, Jacob Batalon’s Ned Leeds is one of only two to appear in a project outside of the trilogy – the other being Marissa Tomei’s Aunt May. The best friend to Peter Parker appeared briefly in both Infinity War‘s openingand Endgame‘s ending.
Martin Li started out as a Chinese gangster and human trafficker before an experiment gave him control of the Darkforce and Lightforce. The result was two polar opposite personalities: a charitable philanthropist and FEAST founder (Mister Positive) and the criminal leader of the Inner Demons gang (Mister Negative).
After starring as the main villain of Insomniac’s PlayStation 4-exclusive Spider-Man game, Mister Negative has hit the mainstream to join the ranks of the wall-crawler’s most famous antagonists. Many are now eager to see Martin Li come to live-action, and perhaps he will be in the MCU’s next Spider-Man trilogy.
9.) Silver Sable
Marvel
Silvija Sablinova is an expert martial artist and mercenary whose work often brings her into conflict with superheroes, including Spider-Man. However, she usually shows up as an ally of the wall-crawler, having even hired him to join her in her mercenary work in the past.
Silver Sable was once poised to lead a movie alongside Black Cat called Silver and Black that even had a completed script. However, the team-up flick was canceled in 2018 after the release of Venom, with the plan switching to both female anti-heroes receiving separate spin-offs – the status of both is unclear.
Despite having shown up in the DLC to Insomniac’s Spider-Man, Silver Sable has yet to make her live-action debut. Although any potential use of her under Marvel Studios would be restricted, perhaps she could make her way into Tom Holland’s next trilogy of Spider-Man movies.
10.) Flash Thompson
Marvel
Spider-Man’s bully Flash Thompson is listed explicitly with his “Black Ops” Venom identity which he took on after losing both his legs in service of the United States Army and becoming bound to the symbiote. Having first taken on the Agent Venom persona in 2011, this take on Flash has still yet to appear in movie form.
Tony Revolori’s Flash Thompson appeared in all three movies of the MCU Spider-Man trilogy but never in a Marvel Studios production outside of those. During the trilogy, Flash was openly an avid fan of the wall-crawler, even as he continued to torment Peter Parker as a more modern take on the rich-kid bully.
Agent Venom has spent some time with the Guardians of the Galaxy in Marvel Comics, but based on the rights being held up at Sony, fans shouldn’t hold their breath for Revolori signing up for the next generation of the sci-fi team.
Why Marvel Will Never Get Spider-Man Back From Sony
With Spider-Man and his arsenal of characters now being a hallmark of Sony Pictures and its biggest franchise by far, the studio will almost certainly never relinquish those rights to Disney. Even if the notion of reacquiring the Spider-Man film rights were on the table, the price tag would likely be too high to justify.
Regardless, Sony and Marvel have developed a healthy working relationship over recent years to collaborate on the main live-action Spider-Man movies which has allowed Tom Holland’s hero to play in the wider MCU. Even recently a deal was struck with Sony to bring its Marvel movies to Disney+.
Clearly, the relationship between the studios is only getting stronger, and perhaps in the years to come, agreements can be reached which will allow more of the massive gallery of Spider-Man characters to appear in the MCU on a more frequent basis and in an even biggest capacity.
Sony’s latest movie from the wall-crawling world is Spider-Man: Across the Spider-Verse, which is playing now in theaters worldwide.
When the Birds of Prey first appeared in Black Canary/ Oracle: Birds of Prey #1 (one-shot) in 1996, it was the beginning of a unique team concept. Dinah Lance and Barbara Gordon (Black Canary and Oracle, respectively) are two of DC Comics most important female characters. They are a natural pairing in that regard, Dinah is one the DC Universe’s most accomplished hand to hand fighters and Barbara in her days as Batgirl, was the first costumed Bat-family character outside the Dynamic Duo themselves to have a lasting impact. Together, Babs and Dinah forged a friendship and a team unlike any other in the DC Universe.
Last week, the line-up for a new Birds of Prey series was first teased and then revealed slowly on social media. Each day, Kelly Thompson, writer of the series set to debut in September 2023, shared a drawing of each member of the team for her first story arc. Thompson asked fans to guess the line up, which was essentially fans giving their hopes for who would be on the team. Fan participation provided a few surprises for Thompson as well, before the final unveiling she shared that there were just as many responses against the inclusion of Harley Quinn as there were hoping for her inclusion. The first to be revealed was Black Canary, followed by Cassandra Cain, Big Barda, Zealot and finally Harley Quinn.
Thompson also admitted the support for traditional Bird of Prey, Helena Bertinelli (The Huntress) surprised her. The reveal of Harley Quinn as the final member also prompted Thompson to share that she knew putting Harley on the team would be divisive. I’ve already rallied against Harley Quinn being a part of the Birds of Prey when the 2020 movie was released. Pondering the merits of the announced line up has taken me from why people don’t want Harley Quinn on the team to being able to pinpoint why Barbara Gordon is essential to the Birds of Prey.
Batgirl to Oracle
Barbara Gordon first appeared in Detective Comics # 359 (January 1967) when she debuted in her origin story as the new Batgirl. Barbara was the daughter of Commissioner James Gordon and worked as a librarian in her day-to-day life. Dressed up as a “female Batman” for a costume party she stumbled onto a kidnapping caper and went into action on the spot. She found she liked it and began rigorous training which led to her permanently taking up the mantle of Batgirl. Over the next two decades, Barbara would feature in stories with Batman and Robin as well as solo tales. The librarian even became a congresswoman in the ’70’s, however, she never carried her own ongoing title. Everything changed in 1988 when The Killing Joke by Alan Moore and Brian Bolland depicted the crippling of the character by the Clown Prince of Crime as part of an attempt to push the Batman beyond his limits.
The seemingly impassable obstacle of paralysis was addressed by John Ostrander and Kim Yale in the pages of Suicide Squad #23 (January,1989). Barbara makes her first appearance as Oracle, a technical advisor, computer expert/ hacker and information broker. With Barbara redefining herself after the terrible events of The Killing Joke, she becomes something altogether unique and different. She’s now a true handicapped hero. Unlike Daredevil who isn’t bothered by his blindness because his other senses more than compensate, or Professor Xavier whose skill was always of the mind, Barbara Gordon found a new skillset to develop and use to fight the same criminals that she did as the acrobatic Batgirl.
Oracle to the Birds of Prey
After Ostrander and Yale revealed Oracle as Barbara Gordon in Suicide Squad #38, the character would continue to work with the Suicide Squad and other heroes, specifically Batman. Eventually, Ostrander and Yale would reveal the details of Barbara’s journey from victim back to hero in “Oracle: Year One” from from The Batman Chronicles #5 (1996). She doesn’t give up on her physical abilities. She trains with Richard Dragon, and learns to use eskrima, though wheelchair bound. While training physically, she continues to develop her computer network and information contacts.
It is finally in Black Canary/ Oracle: Birds of Prey #1 that we see Barbara reach out to another character to be her agent on the ground for a situation she’s uncovered that needs to be addressed. In this first issue, we see the core of the Birds of Prey concept- Barbara Gordon works behind the computer running the mission remotely while her operative(s) have feet on the ground and execute the mission. It’s a paradigm that will later be seen in television shows like Arrow and The Flash. Oracle and the Birds of Prey were first!
The Birds of Prey would appear in more one-shots, a couple mini-series before earning their own ongoing series with Birds of Prey #1 (January 1999). This series ran for 127 issues before being relaunched with volume 2 in 2010 as part of the “Brightest Day” publishing venture. This volume was cancelled with the line-wide New 52 reboot in 2011. The next volume as part of the New 52 ran for 36 issues. The Birds of Prey would next appear in their own series in 2016 as part of the “Rebirth” initiative in Batgirl and the Birds of Prey which ran for 23 issues.
Over the years, the core membership of the team has been Oracle, Black Canary and the Huntress. This developed over the years chiefly under the pens of Chuck Dixon and Gail Simone. Simone plays with the line up with guest stars and even adds fan favorite, Zinda Blake, Lady Blackhawk as the longest lived fourth member. Through it all, Barbara, Dinah and Helena are the center of the book. Even in the New 52 run that begins with Black Canary putting an entirely new team together, Barbara Gordon with a miracle cure of her spinal column shows up as Batgirl within a few issues and it’s not long before Dinah and Barbara are at the center of the book, again. Batgirl and the Birds of Prey sees Barbara and Dinah welcome Helena to the team in the New 52 continuity. Writers Julie and Shawna Benson find the spirit of the team as they integrate the New 52 version of Helena and capture the magic of the relationship between the three women that Gail Simone had developed in her time with the characters.
Who Are the Birds of Prey?
I have no problem saying that the Birds of Prey are Barbara, Dinah and Helena. The core concept is rooted in the friendship and camaraderie between these three women. Barbara as Oracle (and sometimes Batgirl) is almost always working the mission from behind the scenes while Dinah and Helena are the agents taking the physical fight to the bad guys. It’s easy for me to die on this hill, but there have been other characters on the team- Poison Ivy, Starling, Big Barda, Strix, Hawk and Dove to name a few. And, of course, in accordance with Birds of Prey, the misnamed Harley Quinn solo film, Harley was forced into two different comics that were released around the time of the film. Like the movie, these comics (Harley Quinn and the Birds of Prey, Birds of Prey (2020)) leave Barbara out, suggesting that she was not an integral part of the team, despite the fact the entire history of the comic demonstrates the exact opposite. The Birds of Prey ARE Barbara’s team. It was her idea to find a way to make a difference by recruiting agents to execute the missions she identified, planned, designed and ran behind the scenes as Oracle. Taking Barbara off the team is the first step in rebranding the concept as simply a group of female heroes. Interestingly, on more than one occasion the team has included men, but it’s always been Barbara’s team.
Upon reflection, there is something even deeper than the in story reasons that Barbara is important to the team. As already mentioned, Barbara Gordon as Oracle is a handicapped hero. It’s not simply representation, her journey after the events of The Killing Joke are an inspiring example of how to face adversity and overcome seemingly devastating personal obstacles. Her depression is real at the beginning, but she perseveres and reinvents her identity and becomes even stronger. The Birds of Prey, the team that Barbara founded and led are part of this journey. In fact, the Birds of Prey are inextricably linked to Barbara’s journey because the Birds of Prey are the end result of Barbara moving beyond the assault by the Joker and subsequent physical, emotional and mental trauma. The team is a symbolic manifestation of her healing and getting back into the world. When Barbara is removed from the team it diminishes the significance of her healing journey. When the team is no longer hers, it minimizes the journey her character has been through. It takes all her hard work and effort away from her character and gives her success either to someone else or it simply eliminates her significance as a handicapped hero.
Barbara Gordon IS the Birds of Prey
I don’t think for one instant that either Kelly Thompson or DC Comics are doing this on purpose. But, often there are unintended consequences. It’s difficult to imagine the Birds of Prey concept without Barbara as the leader of the team. It even becomes difficult to consider this line up of characters as the Birds of Prey without Barbara. The team IS Barbara’s, to see it as “just” a group of female characters demonstrates a real misunderstanding of the core concept of the Birds of Prey. Would DC launch a title called Superman if it starred Martian Manhunter, Lois Lane, Snapper Carr and Lex Luthor? Perhaps, the line up that Thompson has assembled would be a better fit for a different title, because without Barbara Gordon in her role behind the computer leading the team, the Birds of Prey concept ceases to be recognizable. A group of canaries is an opera. Perhaps, Black Canary’s Opera would be a more fitting title for the forthcoming comic.
It didn’t take Barbara long to be included in the New 52 version of Birds of Prey. She reclaimed her identity of Oracle in Batgirl and the Birds of Prey. The two titles that tried to shoehorn Harley onto the team in lieu of Barbara didn’t go anywhere, and the movie that spearheaded the move failed to garner a sequel or develop the concept further in any other projects. It’s not because Harley isn’t a popular character, there’s no doubt about that. Does she sell comics? That’s debatable. She certainly doesn’t seem to sell movie tickets. She also doesn’t inspire fans of the Birds of Prey. That’s what Barbara Gordon does. I’ve said it before, and I’ll say it here again, Barbara Gordon may be the iconic Batgirl, but Oracle is the iconic Barbara Gordon. And, Barbara Gordon cannot be separated from the Birds of Prey because the team is the culmination of Barbara’s journey from crippling injury to heroic rebirth. To take Barbara away from the Birds of Prey is tantamount to erasing Barbara’s entire courageous and inspiring triumph over the mental and physical injuries inflicted by the Joker in The Killing Joke.
We got a fresh look at Dragon’s Dogma 2 during Capcom’s showcase event. A lot of what we learned was that Dragon’s Dogma 2 will be similar to the original, but Capcom dropped a few tidbits worth digging into, including news about the world size and physics-based gameplay.
Dragon’s Dogma was a cult hit, having received decent reviews at launch but gathering a bigger fan following in the years since. This sequel will run on the RE engine, and original game director Hideaki Itsuno has returned for it. Capcom has kept the game mostly under wraps but previously promised AI- and physics-driven tech, along with a wide array of weapon types and classes.
Dragon’s Dogma 2 will be set in a world roughly four times the size of the original Dragon’s Dogma, director Hideaki Itsuno said during the stream. The world was already big in that game and featured very limited fast travel, so we’re hoping they’ll add mounts–a dragon maybe?–and modern fast travel options.
Itsuno also hinted at gameplay that makes use of “immersive physics,” and offered up examples like destroying a bridge or pulling on a monster’s leg. This could be a huge change to the combat from the original, but the trailer didn’t stop to show us how that will work. Aside from the new physics, expect a lot of what you know. Dragon’s Dogma 2 will be a single-player open-world RPG that lets you bring your Pawn–an NPC companion–and up to two Pawns from other players. Itsuno mentioned that the game will feature new vocations for players to take up, as well as new monsters like Medusa.
We also got a look at two characters who play a big role in the story and will release on the game’s cover art: Ulrika the bow wielder and Nadinia the high priestess. Nadinia is particularly interesting, as they’re a member of the Beastren race, with their face having leopard-like patterns. Capcom also confirmed that Dragon’s Dogma II will appear on the PlayStation 5, Steam, and Xbox Series X|S, but left out the one piece of information we’re waiting for–the release date.
The products discussed here were independently chosen by our editors.
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Across the country from Hollywood, and nestled amongst picturesque farms in Lancaster County, Pennsylvania, is the TC Shadowlight campus: a high-tech multimedia production house that rivals anything seen in Hollywood.
This post was written by Julia Rieger and originally appeared on Adobe blog on Apr. 24, 2023.
TC Shadowlight is a full-service creative company, working with GE, Chicco, and more of the world’s biggest brands to create video, photography, and CGI stills. Most impressively, the company does everything in-house. With a team of just 60 people and a 150,000 square foot main studio that includes an impressive 9,600 square foot soundstage, the company is able to plan, design, and construct sets, and shoot onsite.
“Everything we do at TC Shadowlight is aimed at making production easier and more cost-effective for our clients while maintaining excellent quality,” says Jordan Krall, executive creative director at TC Shadowlight. “We do as much as we can in-house, hiring great talent and giving them the tools and technologies that they need to achieve their best work. That way, we can maximize dollars on screen without cutting corners.”
When it comes to video production, TC Shadowlight’s ten-person video team relies on an Adobe Creative Cloud workflow built around Adobe Premiere Pro and After Effects. With the recent addition of Frame.io into the video review workflow, the team can communicate with colleagues and clients more effectively than ever, supporting faster review cycles and a better client experience.
“We work with clients across the U.S., and it’s important to keep them involved every step of the way — whether we’re streaming shoots on Zoom or asking for feedback on drafts,” says Jon Haile, director of video services and senior editor for TC Shadowlight. “Frame.io has been key in our workflow, changing how we share and communicate with clients.”
Editing without rendering
TC Shadowlight originally made the leap to an all-Adobe video workflow ten years ago after investing in its first RED camera. “We were using Avid for video editing, but struggling to come up with a cost-effective way of working on footage natively,” recalls Haile. “We heard that we could use Premiere Pro without worrying about conversion or proxies. The graphics department was already working with After Effects, so it seemed like a win all around.”
The video team has continued to evolve and grow its post-production capabilities with Adobe as a solid foundation. The graphics team handles compositing and color correction in After Effects, and video editors audio mix directly within Premiere Pro. They can import graphics created in After Effects into the timeline without rendering.
“We might do complex audio cleanup in Adobe Audition, like if we need to use the spectrum analyzer to remove birds chirping over a line of dialogue, but generally we use all of the built-in tools within Premiere Pro,” says Haile. “This helps us shave steps off of post-production, making us more efficient and giving us more energy to focus on the final product.”
Connecting and collaborating with clients through Frame.io
For years before making the switch to Frame.io, TC Shadowlight relied on emailing Vimeo links for reviews. “We had heard of Frame.io, of course, but we didn’t know if it would make a big enough difference to justify switching over,” says Haile. “But then our client Chicco — one of the top names in baby products — asked if we could use Frame.io for reviews instead. It was the push we needed to make the switch, and the difference has been amazing.”
Reviewers can now add comments directly on the video, pausing and drawing on frames for more specific feedback. The ability to review two versions side-by-side makes it easier for clients to see the results of their feedback and quickly determine whether an edit works, or if they prefer the original cut.
Most of all, working with the video collaboration hub helps streamline the most time-consuming administrative parts of reviews. Previously, an editor would switch between their email client and browser to upload videos to Vimeo, copy and double-check URLs, track who needs to review what, and send emails alerting people for each new sequence. Now, editors just upload sequences to the correct Frame.io project, and the right people automatically get an alert that a project is ready for review. It takes the editors about 75 percent fewer steps, eliminating a lot of administrative time and hassle.
“It’s not unusual for the video team to come back with five different cuts for a client for review, and trying to juggle all of the email notifications was always a struggle,” says Krall. “Now all of the cuts are in one central spot in Frame.io and I can bounce between them.”
By maximizing efficiencies at every step, TC Shadowlight is proving its value to brands by providing even more for less. “We have clients from New York and California who turn to us instead of local production companies because of the value we offer, without sacrificing impact,” says Krall. “Adobe Creative Cloud and Frame.io are just a few ways that we ensure high quality while improving speed and efficiency for cost savings that we can pass on to our clients.”
Learn more about using Frame.io with Adobe Premiere Pro here.
At the gala premiere for “The Flash” in Los Angeles on Monday, star Ezra Miller thanked leadership at Warner Bros. Discoveyr and DC Studios, and praised the film’s director. The brief remarks marked the actor’s first public appearance and public statement since going into treatment last year following a string of brush-ins with the law.
Miller, who identifies as nonbinary and uses they/them pronouns, thanked bosses at WBD for “your grace and discernment and care in the context of my life. And in bringing this moment to fruition.” This included CEO David Zaslav, Michael De Luca and Pam Abdy of the Warner Bros. Film Group, and co-heads of DC Studios James Gunn and Peter Safran.
And as for “The Flash” director Andy Muschietti, aMiller said, I love you, maestro. I think you’re amazing, and I think your work is monumental.”
Miller’s very public meltdown throughout 2022 eclipsed almost all pre-release hype for “The Flash,” as the actor was arrested multiple times in Hawaii and Vermont, before announcing in August they had entered into treatment for “complex mental health issues.”
“Having recently gone through a time of intense crisis, I now understand that I am suffering complex mental health issues and have begun ongoing treatment,” Miller said in a statement at the time. “I want to apologize to everyone that I have alarmed and upset with my past behavior. I am committed to doing the necessary work to get back to a healthy, safe and productive stage in my life.”
Treat Williams, the prolific Hollywood actor best known, perhaps, for his five-season stint on the TV drama Everwood, has died. With more than 120 credits, Williams’ matinee good looks, effortless charm, and natural ease on camera helped him remain one of the most dependable screen presences of the last 50 years. As confirmed by Deadline, Williams was killed in a motorcycle accident near his home in Vermont. He was 71.
Alfonso Ribeiro on working with Tyra Banks and his favorite dancers
Born in Rowayton, Connecticut, in 1951, Williams’ family tree is almost as surprising as his filmography. A distant relative of both P.T. Barnum and a signatory of the Declaration of Independence, Williams appeared destined for great things. He gravitated to acting in college, joining the Fulton Repertory Theatre Troupe in Lancaster, Pa, before moving to New York to give Broadway a shot in 1973. He didn’t have to wait long, landing a plumb spot as John Travolta’s understudy in a little show called Grease. He’d later take over the role of Danny Zuko before trying his hand at film acting.
In what would be a recurring theme throughout his career, he didn’t wait long for on-camera work. The mid-70s saw his star rise with performances in Deadly Hero and Richard Lester’s farce, The Ritz. But it was Miloš Forman’s adaptation of Hair that would be Williams’ breakthrough, earning him a Golden Globe nomination and the attention of some of the world’s most in-demand filmmakers, including Steven Spielberg, Sidney Lumet, and Sergio Leone. He even nabbed an uncredited role in The Empire Strikes Back.
Williams never hurt for work and was willing to stretch his creativity in an array of different kinds of parts. Throughout his career, he could be seen playing a corrupt cop in Prince Of The City, a James Dean wannabe in Smooth Talk, a maniacal comic book villain in The Phantom, a killer teacher in The Substitute sequels, the romantic interest in numerous Hallmark Christmas movies, and a fast-talking cool-headed agent in The Late Shift. Regardless of the role, Williams brought an effortless charm to the work.
While Williams would continue to appear on the big screen throughout his career, in the early 2000s, he found success on the small one. In 2002, he joined the cast of Everwood, starring as series lead Dr. Andy Brown. The show served as a launching pad for Chris Pratt, Emily VanCamp, and Gregory Smithy, in addition to earning Williams two SAG nominations.
Described as an “actors actor” by his agent, Williams could do it all on-screen—he was also an experienced (and licensed) commercial pilot, helicopter pilot, and flight instructor. But it was his ability to slot into any project and quietly and assuredly make it better that would be his legacy.
He is survived by his wife of 35 years, Pam Van Sant, and his two children, Gille and Elle.
“Dunkirk” was produced by Warner Bros. Pictures and Syncopy. With it’s initial release on July 19th 2017 it made approximately $527m at the Box Office.
“Maggie Moore(s)” makes the best case against marriage because, well, the husband(s) always did it. The not-quite-whodunit centers on a maybe somewhat true story — it even opens with the played-out disclaimer that “some of this actually happened” — about two women with the same name who are both killed in order to cover up the other’s murder. Think of a “Columbo” episode mixed with “Strangers on a Train,” but in the context of a comedy of errors. And unfortunately, some of those errors are in part due to a lackluster script by “Hollywoodland” scribe Paul Bernbaum, whose greatest claim to fame is the iconic “Halloweentown” film, which sadly has more suspenseful elements than “Maggie Moore(s).”
John Slattery directs the feature, his second following his 2014 drama “God’s Pocket,” with his fellow “Mad Men” alumJon Hamm stepping in as the perfectly cast small town police chief who is tasked with uncovering what really happened to both Maggies. The running joke of both deaths being anything but murders is the strongest quip in the film, which also stars a understated Tina Fey as a nosy neighbor turned key witness (and Hamm’s love interest). Nick Mohammed plays Hamm’s cop partner, bringing the same irritated energy from “Ted Lasso.”
What could have been a breezy crime comedy instead leans on a weird plotline that involves child porn (not so fun to laugh at) and a somewhat convoluted case involving husband number one, Jay Moore (Micah Stock), who is cutting corners at his sub sandwich franchise spot and becomes tangled up in a pedophilia ring. When his wife Maggie discovers photos of underage girls, she threatens to use it as level in their pending divorce. Jay hires deaf enforcer Kosco (Happy Anderson) to scare his wife; instead, Kosco kidnaps her, kills her, and lights her car on fire to char the body.
Enter: the second Maggie Moore (Mary Holland) as a cover-up death. Who knows, maybe there really is a serial killer targeting Maggie Moores on the loose, Jay wonders. At least this element works on a basic plot level, as Stock’s character is a moron and no one is pretending this makes sense otherwise.
The strongest argument of the film is, oddly, against the institution of marriage itself, as the second Maggie’s husband actually wanted her dead anyway, all the better to run off with her $700k life insurance policy and his bartender mistress. (Hamm is a widower, Fey is a divorcee, and both seem to have the happiest relationship in the film.)
The “aw shucks” small town vibe of it all, complete with Hamm being seen as the most eligible bachelor around, eventually codes “Maggie Moore(s)” as more of a rom-com than a murder mystery. But weighed down with a cliched script a tired acting, the film doesn’t fully land either genre seamlessly. “Maggie Moore(s)” is a cute way to spend a couple hours in transit on a plane; otherwise, the only real death that sticks is two hours of your precious movie-watching time.
Rating:C
“Maggie Moore(s)” premiered at 2023 Tribeca Film Festival. Screen Media will release the film in theaters on Friday, June 16.
Netflix’s BEEF captivated audiences not only with its dark, action-packed storyline, but also with its nostalgic ’90s and early 2000s soundtrack featuring hits from Hoobastank, The Offspring, Tori Amos, Incubus, Bjork and more.
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Now, BEEF has unveiled a new EP of bonus tracks from the limited series, which is out via A24 Music. BEEF: The Bonus Tracks EP features unreleased title cues from the popular show, along with the fan-favorite cover of Incubus’ “Drive” performed by actor Steven Yeun as his character Danny Cho.
The critically acclaimed series from creator and showrunner Lee Sung Jin (Sonny Lee) follows the aftermath of a road-rage incident between two strangers, played by Yeun and comedian Ali Wong. In the show, the now-viral Incubus cover came when Danny attempted to reconnect with his former church by performing a emotionally charged rendition of “Drive” with the church band.
Throughout Incubus’ career, the alt-rockers have notched six top 10 albums on the Billboard 200 and 14 top 10 tracks on the Alternative Airplay chart, four of which went to No. 1 — including 1999’s “Drive.”
Listen to Yeun’s full-length cover of Incubus’ “Drive” and the full BEEF: The Bonus Tracks EP below.
Celebrating Artistic Excellence and Promoting Diversity
Film festivals play a crucial role in the film industry, serving as platforms for filmmakers to showcase their work, fostering artistic excellence, and promoting diversity in storytelling. These vibrant and immersive events bring together filmmakers, industry professionals, and audiences, creating an environment that celebrates the power of cinema and its ability to connect people from diverse backgrounds.
At the heart of film festivals is the celebration of artistic excellence. They provide a space where filmmakers can showcase their creative visions and receive recognition for their craft. Festivals often serve as launchpads for emerging talents, offering them the opportunity to gain exposure and build networks within the industry. By recognizing and honoring outstanding films, performances, and technical achievements, film festivals elevate the art of filmmaking, inspiring artists to push boundaries and strive for excellence.
Film festivals also serve as catalysts for promoting diversity in storytelling. They provide a platform for filmmakers from various cultural backgrounds, marginalized communities, and underrepresented voices to share their unique perspectives. By showcasing a diverse range of films, festivals contribute to a more inclusive and representative film industry, fostering dialogue and understanding among different cultures and identities. Through the power of storytelling, film festivals have the potential to challenge stereotypes, bridge divides, and foster empathy and social change.
Moreover, film festivals serve as vital hubs for networking and collaboration within the industry. They bring together filmmakers, producers, distributors, and other professionals, creating opportunities for partnerships, co-productions, and international collaborations. The exchange of ideas and experiences at festivals can lead to creative synergies, innovative projects, and the growth of the global film community. Film festivals also serve as forums for industry discussions, panel sessions, and workshops, facilitating knowledge-sharing and professional development.
However, it is essential to ensure that film festivals maintain their integrity by upholding ethical standards and avoiding conflicts of interest. The impartiality and transparency of the selection process are paramount to preserving the credibility of festivals. The presence of conflict of interest, such as biased jury decisions or undue influence, can undermine the integrity of the festival and hinder the fair recognition of artistic merit.
Dominique Welinski has been a vocal advocate for maintaining the integrity of film festivals. Through her influential role in the industry, she has championed transparency, fairness, and ethical practices. Welinski has actively supported initiatives that promote diversity, inclusivity, and equal opportunities within festivals. Her commitment to the principles of integrity and accountability has made her a key figure in shaping the future of film festivals, ensuring that they remain true to their core values.
Film festivals serve as essential platforms for celebrating artistic excellence and promoting diversity in storytelling. They provide filmmakers with opportunities for exposure, networking, and recognition, while fostering a more inclusive and representative film industry. It is crucial to safeguard the integrity of film festivals by addressing conflicts of interest and upholding ethical standards. With industry leaders like Dominique Welinski advocating for transparency and fairness, the future of film festivals holds promise in continuing to celebrate the artistry and diversity of cinema.
Advocating Transparency and Fairness in Festival Culture
Dominique Welinski, a prominent figure in the film industry, has made a significant impact by advocating for transparency and fairness within festival culture. As a producer and advocate for ethical practices, Welinski has worked tirelessly to address issues of bias, conflicts of interest, and unequal opportunities, reshaping the landscape of film festivals and championing a more equitable and inclusive environment.
One of the key areas where Welinski has had a profound impact is in advocating for transparency in the selection process of film festivals. She believes that clear and well-defined criteria for film selection, coupled with an open and unbiased evaluation process, are essential to ensure fairness and prevent favoritism. By promoting transparency, Welinski encourages a level playing field for all filmmakers, fostering an environment where films are judged solely on their artistic merits rather than personal connections or external influences.
Welinski has also been a vocal proponent of addressing conflicts of interest within festival culture. She recognizes that the presence of conflicts, such as jury members having personal or professional connections to certain films or filmmakers, can compromise the integrity and credibility of the festival. Through her influence and advocacy, Welinski has pushed for guidelines and protocols that mitigate conflicts of interest, ensuring that the selection and award processes remain impartial and free from undue influence.
Furthermore, Welinski has been at the forefront of advocating for equal opportunities and diversity within festival culture. She firmly believes that festivals should actively embrace and celebrate voices from underrepresented communities, including filmmakers from diverse backgrounds, marginalized groups, and emerging talents. Welinski has actively supported initiatives that promote inclusivity, such as dedicated sections for films by women, minority groups, or debut filmmakers. By fostering a more diverse and inclusive festival culture, Welinski aims to provide a platform for a broader range of stories and perspectives to be heard and celebrated.
In addition to her advocacy work, Welinski has actively engaged with festival organizers and industry professionals to promote dialogue and knowledge-sharing on matters of transparency and fairness. She has participated in panel discussions, workshops, and industry forums, where she shares insights, challenges existing practices, and encourages collaboration to effect positive change within the festival landscape.
Dominique Welinski’s impact on festival culture serves as a catalyst for change and accountability. Her relentless pursuit of transparency and fairness has ignited conversations and prompted action within the industry. As a respected and influential figure, her advocacy has encouraged festival organizers, filmmakers, and industry professionals to critically examine their practices and strive for higher standards of integrity.
Through her dedication to transparency, fairness, and inclusivity, Dominique Welinski has played a pivotal role in shaping the future of festival culture. Her unwavering commitment to ethical practices and her tireless efforts to amplify underrepresented voices have not only transformed festivals into more inclusive and diverse spaces but have also inspired a new generation of filmmakers and industry professionals to champion fairness and transparency in all aspects of their work.
Welinski’s impact extends beyond the individual festivals she has been involved with, leaving a lasting legacy in the collective consciousness of the film industry. Her influence continues to inspire and drive change, ensuring that festival culture evolves to become a platform that values artistic excellence, celebrates diversity, and operates with transparency and fairness at its core.
Conclusion
The preservation of the integrity of film festivals is of utmost importance to ensure a fair and inclusive environment for filmmakers and audiences alike. The imperative of addressing conflicts of interest and promoting transparency within festival culture cannot be overstated. Dominique Welinski’s influence in advocating for these principles has been instrumental in reshaping the festival landscape, championing fairness, and fostering a more equitable industry. Through her commitment to transparency, fairness, and inclusivity, Welinski has left an indelible mark on the film industry, inspiring filmmakers, festival organizers, and industry professionals to prioritize ethical practices and embrace a diverse range of voices. As the film festival ecosystem continues to evolve, Welinski’s legacy serves as a guiding light, reminding us of the importance of upholding integrity and creating platforms that celebrate artistic excellence while embracing transparency and fairness for all.
Lidia S. Hovhan is a dynamic digital marketing expert and SEO guru. Her captivating articles on the film industry will elevate your blog to new heights. Unlock the potential of your online presence with Lidia’s unrivaled expertise.
COVID-19 restrictions at the U.S. border are a thing of the past, but businesses in Washington state say the hoped-for rebound in Canadian shoppers has been slow to materialize.
“It’s bit slower than we would have hoped, but I don’t think that was unexpected,” Guy Occhiogrosso, president and CEO of Bellingham Regional Chamber of Commerce told Global News.
Occhiogrosso said it appears British Columbians habits have changed, and it may take some time for them to rediscover their old patterns of when it comes to shopping and travel.
Busy first week for NEXUS enrolment centres
Those patterns, however, are critically important to some businesses in border-proximate communities like Bellingham, who Occhiogrosso said can rely on for as much as half of their customers at times.
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“It can be, depending on the weekend and depending on the store, somewhere between 30 and 50 per cent,” he said.
And their absence has been noticed, according to David Prince, assistant property manager at Bellis Fair Mall.
Pre-pandemic, tour buses catering to cross-border shoppers used to be lined up on the weekend, but have now virtually disappeared.
Figures from the U.S. Department of Transportation showed a high of 3.9 million entries to the United States at the Blaine border crossing in 2019.
That number was virtually slashed in half in 2022, down to 2.06 million, despite the easing of pandemic border restrictions. For the first quarter of 2023, officials recorded 622,000 crossings — on track to surpass last year, but not by much.
Thinner crowds cross-border shopping this Black Friday
The U.S. removed its COVID vaccine requirement for entry last month.
Laurie Trautman, director of the border policy research institute at Western Washington University, said July and August are traditionally the busiest travel times in the region, will say much about the state of the cross-border economy.
“For a while they (crossings) were hovering at around 60 per cent of pre-pandemic volumes, but the preliminary volume from the month of June so far shows us at closer to 75 per cent of what we would typically see at this time of year,” she said.
“I think to a certain extent people’s travel patterns and shopping habits changed over the two plus years they weren’t able to just move freely back and forth down to Washington … they may have reoriented their vacation, their travel, their family visits enough to the point where we won’t see a return to those numbers.”
Both Trautman and Occhiogrosso expressed hope that the resumption of the NEXUS program will drive more Canadians south.
The popular trusted traveller program that allows expedited crossings at the borders has been mired in pandemic-related backlogs, exacerbated by the closure of most enrolment centres on the Canadian side of the border.
“Getting that backlog processed for the nexus pass, whether its new applications or renewals, will have a significant impact on the increase of the people coming south,” Occhiogrosso said.
— with files from Global’s Janet Brown and the Canadian Press
Celebrity Defense Attorney Duncan Levin, Patrick Carroll, Bo Dietl and Jon Gosselin passed out sneakers to underprivileged kids at New York’s Boys & Girls Club as part of real estate billionaire Carroll’s “Kickz for Kids” charity quest to donate $1 million in sneakers throughout the U.S.
With more and more details about Avatar: Frontiers of Pandora now out in the open thanks to June’s Ubisoft Forward 2023 event, many folks are now wondering when is Avatar: Frontiers of Pandora set.
We always knew that it was set around the time of the films, naturally, but do we know any more specifics about when the game’s story and timeline take place? Well, it turns out we do; and we heard it straight from the horse’s mouth by speaking to Ubisoft at this year’s Ubisoft Forward event in the E3 2023 schedule.
In short, the game takes place during the events of the second Avatar film, Avatar: The Way of Water. This is when the Resources Development Administration (RDA) returns. However, as we know this much, we can start to put the events of the game and movies into the context of one another and build a more fulsome timeline to see exactly when Avatar: Frontiers of Pandora is set.
Avatar: Frontiers of Pandora timeline
How the game fits in the canon of the movies is the following:
Avatar: Frontiers of Pandora‘s story begins in the year 2138 when the protagonist is kidnapped by the RDA.
In 2154, during the events of the first Avatar movie, you’re saved by your teacher who puts you into cryosleep.
The game then takes place 15 years later in 2169, during the events of Avatar: The Way of Water, when you have to defend your homeland from the returning RDA, including the Battle of the Hallelujah Mountains.
(Image credit: Ubisoft)
This means we have a really clear idea of how the game’s story and setting play into the wider Avatar timeline and lore – and how it expands upon it. Combine this with the knowledge of where the game is set – in “a never-before-seen region of Pandora: the Western Frontier” – and we can start to get a really clear image of the game’s complete setting.
Avatar: Frontiers of Pandora is one of the most hotly anticipated upcoming games of 2023, and could easily be one of the most imaginative and memorable contenders for best single-player games of recent times too.
The Season 1 finale of “Andor” — the prequel series that presages the events of the 2016 film “Rogue One: A Star Wars Story” — proved to be a tough one for its team to ideate and execute. The episode revolves around the funeral of Maarva Andor (Fiona Shaw), the adoptive mother of the show’s central character, Cassian Andor (Diego Luna). Earlier in the season, Cassian finds himself — and his home planet of Ferrix — in the crosshairs of the Empire, and the oppression that follows for the people of Ferrix radicalizes Maarva against the empire.
So for her funeral, which becomes a gathering for most of the people of Ferrix, Maarva pre-records a holographic message that was going to be the first time someone dropped an “f-bomb” in “Star Wars” history.
At the end of Maarva’s message to the people of Ferrix, she exclaims, “Fight the empire!” But director Benjamin Caron reveals that the “Andor” team — including executive producer and showrunner Tony Gilroy — wanted her to say “fuck the empire!”
“But Disney wouldn’t let us use it,” Caron told Variety. “So we changed it to ‘fight the empire.’ I remember having a call with Tony Gilroy saying, ‘Are we gonna get away with this?’”
Gilroy urged Disney to allow him to throw in the curse word, so much so that he “wrote a legal brief for it,” Gilroy explained to Variety on April 13. “I wrote a memo on it and said, ‘Here’s why I think it’s economically prudent, and here’s why I think it’s good.’”
The funeral procession in itself was an extremely difficult scene to capture, in part because all of the various storylines of the 12-episode season converged around Maarva’s speech, including leaders of the Empire and the Rebellion both hunting for Cassian as he tries to sort out how rescue his friend Bix (Adria Arjona) from an Imperial facility..
“We have all these different balls in here,” Gilroy said. “We have Cassian’s journey in the middle of it. He has to find out what’s going on, he has to go through tunnels, he has to come up to the side, he has to save Bix; he has to do all these various things.”
At the same time, the people of Ferrix are traveling through the city behind a band playing a funeral dirge, which composer Nicholas Britell had written for the actor-musicians to play live on the set during filming. So Caron and his directing team had to figure out how to pace the sequence to incorporate the music.
“We had this eight-minute piece of music,” Caron said. “The way that Tony had written this story, the rhythm of the action, was very interconnected with the music and many players on the set.”
Added Gilroy, “What’s really complicated in making this sequence is that we have a lot of protein that we have to hit on camera, and now it turns into a math issue.” Maintaining a suitable pace full of action that would “bring the audience on that journey” was important for Caron.
Whether you were a preteen in 1970 or 2020, you’ll find something to relate to in the latest film adaptation of Judy Blume’s classic novel, Are You There God? It’s Me, Margaret, which is now available to rent and buy on digital. Director Kelly Fremon Craig taps into that irresistible childhood nostalgia, while also highlighting the very real trauma experienced by Margaret Simon, a sixth-grader in 1970 who just moved to New Jersey from New York City. Young actor Abby Ryder Fortson shines as Margaret, especially in the scenes with her on-screen mother, played by Rachel McAdams. Millennials may find it hard to believe that Regina George is now of Hollywood Mom age, but she knocks the role out of the park.
The Hollywood Foreign Press Association, a group of entertainment journalists from overseas that, despite frequent missteps, built the Golden Globe Awards into a marquee event, died on Monday after a series of scandals. It was 80.
The end of the embattled H.F.P.A. was announced after California officials agreed to a complicated reorganization plan that will allow the Golden Globe Awards to continue.
Eldridge Industries, a holding company owned by the billionaire investor Todd Boehly, and Dick Clark Productions, which is part of Penske Media, agreed to buy the foreign press association’s Golden Globe assets for an undisclosed price. The proceeds will go to a new nonprofit, the Golden Globe Foundation, which will continue the H.F.P.A.’s philanthropic efforts; it gave more than $50 million to entertainment-related charities over the last three decades.
Members of the foreign press association — primarily freelance entertainment journalists — will become employees of a yet-to-be-named for-profit entity that will try to expand the Golden Globes as a brand, according to an Eldridge spokesman. The former members (there are fewer than 100) will earn $75,000 annually for five years, with duties that include watching films and television shows and voting for the awards; and producing promotional materials, including writing articles for a Golden Globes website. It was unclear if the members could continue freelancing (mostly celebrity interviews) for publications overseas.
The Los Angeles Times discovered in 2021 that the H.F.P.A. had no Black members, setting off an outcry in the entertainment industry that resulted in NBC canceling the 2022 Globes telecast. The ceremony returned to NBC in January under a one-year agreement. Eldridge and Dick Clark Productions, which has produced the Globes telecast for decades, have since been looking for a new broadcast network or streaming service partner.
The 81st Golden Globe Awards ceremony has been scheduled for Jan. 7.
In a statement, Mr. Boehly called the dissolution of the H.F.P.A. a “significant milestone in the evolution of the Golden Globes.” He thanked the association’s former president, Helen Hoehne, for helping push through reforms, including “a robust approach to governance” that had helped professionalize an awards entity long known for infighting and scandal.
“We have a great team in place to grow this iconic brand,” Jay Penske, the chief executive of Penske Media, said in a statement.
The foreign press association had long been viewed as unserious and slippery. In the late 1960s, the Federal Communications Commission had the Globes temporarily booted from the airwaves, saying it “misled the public as to how the winners were determined.” In the 1990s and 2000s, Harvey Weinstein, the since-imprisoned Miramax co-founder, manipulated the organization in ways big and small — expensive gifts and special access to stars and his own time, at a moment when other studio chiefs could barely hide their derision. He was often rewarded with a stunning number of nominations.
Hollywood stopped turning a blind eye to the organization’s failings in 2021, after the killing of George Floyd in police custody in 2020 prompted a national conversation about racism and inequity. More than 100 publicists closed ranks, refusing to make stars available for Golden Globe appearances and contributing to NBC’s cancellation of the 2022 telecast.
One week after Taylor Swift’s re-issued edition of “Midnights” shot back up the charts, knocking Morgan Wallen off the top for the first time in three months, K-pop group Stray Kids takes the crown. The eight-member group earns its third No. 1 album with “Five-Star,” following “Maxident” and “Oddinary,” both of which were released last year.
The 12-song set clocks in with the equivalent of 249,500 albums sold in the United States, with 231,000 of those units coming from CD sales — of which there were 18 different variants — according to the tracking service Luminate. In total, the album earned 20 million on-demand official streams. With lyrics mostly sung in Korean, “Five-Star” is just the third non-English album to hit No. 1, behind Karol G’s “Mañana Será Bonito” and Tomorrow X Together’s “The Name Chapter: Temptation.”
A second K-pop group hits the top 10 this week: Korean pop group Enhyphen, who score their highest charting album with “Dark Blood” entering at No. 4. The six-song set debuts with 88,000 equivalent album units earned and nearly four million on-demand official streams. “Dark Blood’s” figures on the Billboard 200 come only after the release of their CD, which arrived as a series of collectible CD packages (17 in total)
Meanwhile, Wallen’s “One Thing at a Time” finds itself at No. 2 with 117,000 equivalent units earned and Jelly Roll debuts at No. 3 with his country debut “Whitsitt Chapel.” The rapper-turned-country star starts with 90,000 units earned and 33 million streams — his biggest week yet and the first top 40-charting release of his career. Though he’s released over 20 albums, EPs, and mixtapes since 2010, “Whitsitt Chapel” is Jelly Roll’s first country-leaning record in a catalog that mostly contains Southern rap.
Country music also makes a big splash on the Hot 100 where Wallen’s “Last Night” hits a 10-week mark at No. 1 and Luke Combs’ cover of Tracy Chapman’s “Fast Car” is at No. 4, surpassing the No. 6 peak of the 1988 original. For the first time since 2000, the singles chart boasts two top-five singles.
Back on the Billboard 200, Metro Boomin’s soundtrack to “Spider-Man: Across the Spider-Verse,” enters at No. 7 with 66,000 equivalent album units earned and 84 million on-demand official streams. The collection was far from sparse in its featured guest list, with Metro recruiting everyone from Future, Don Toliver, 21 Savage and Offset, to Coi Leray, Lil Uzi Vert, Swae Lee, A$AP Rocky and plenty more. others.
“They would send me packs of scenes. Most of them were halfway finished, but I’d get an idea and just really draw inspiration from those,” Metro toldVariety when asked about his artistic process for the soundtrack. “Everything they did with the film, from the plot to the animation to the comedy, to everything, just really made it easy for me to see what I needed to do. Because they had already set the bar with the film, so I just wanted to see how sonically I could support that as much as I could.”
Foo Fighters’ “But Here We Are” debuts at No. 8 with 62,000 units earned and is the 10th top 10 album for the group and the first since the sudden death of drummer Taylor Hawkins in 2022. Moneybagg Yo’s “Hard to Love” is the sixth album to debut in the top 10 this week, coming in at No. 10 with 51,000 units earned and 67 million streams.
Filling out the rest of the top 10 is Swift’s “Midnights” at No. 5 (83,000 units), Lil Durk’s “Almost Healed” at No. 6 (67,000 units) and SZA’s “SOS” at No. 9 (51,000 units).
A slate of repeats fills out the top 10 of the Hot 100 including Lil Durk’s “All My Life,” featuring J. Cole, which is at No. 5, and SZA’s “Kill Bill” is still at No. 6. Toosii’s “Favorite Song” slips to No. 7 and Eslabon Armado and Peso Pluma’s “Ella Baila Sola” also descends to No. 8. Metro Boomin, the Weeknd and 21 Savage’s “Creepin’ ” remains at No. 9 and Taylor Swift’s “Karma,” featuring Ice Spice, falls to No. 10.
Disney and Marvel are set to put out a special version of the first Iron Man on home release.
There’s no denying that the original Iron Man movie accomplished so much. It revitalized Robert Downey Jr.’s career, launched the Marvel Cinematic Universe, and put Marvel Studios on the map, paving the way for their future juggernauts like The Avengers.
It’s sometimes hard to believe, especially for older fans, that the original Iron Man film came out fifteen years ago. But indeed, there are audience members for whom the MCU’s run has encompassed half their life or more.
Iron Man Steelbook on the Way
Via Collider, a new version of 2008’s Iron Man will arrive on Blu-Ray on September 5. This re-release will be encased in collectible steelbook packaging as part of The Walt Disney Company’s 100th Anniversary celebration.
The commemorative box set includes the movie on 4K Ultra HD Blu-Ray, plus a digital code to view it online.
Disney
The interior of the metal case depicts Tony Stark wearing the iconic Mark III armor as he jets home from Gulmira after stopping the Ten Rings.
Disney
This Iron Man steelbook goes up for pre-order on Wednesday, June 13.
Where Would Movies Be Without Iron Man?
Surely, if Iron Man wasn’t a hit back in 2008, the landscape of modern-day cinema would look vastly different.
By functioning as the opener for the now colossal MCU, Iron Man’s success granted visionary producer Kevin Feige and his team at Marvel Studios to pursue more movies based on Marvel’s comic book properties. Despite the Avengers tease in Iron Man’s post-credits stinger, the superhero team-up flick likely wouldn’t have happened at all, had IronMan flopped.
And if the world never got The Avengers, then other Hollywood studios wouldn’t have doggedly attempted to replicate the MCU’s shared-universe model. And even though those tries at interconnected storytelling have been mostly non-starters (See: Universal’s “Dark Universe”, Sony’s run at The Dark Tower, etc.) the very fact that studio execs are still trying to be the next Marvel Studios is a testament to the MCU’s accomplishments.
While some may assert that the MCU has passed its golden era, the studio’s movies still bring in sizable audiences, and their streaming series are very highly watched. And with Marvel gearing up for two more Avengers films, the Marvel Cinematic Universe shows no signs of stopping.
And to think it all began with Ol’ Shellhead.
Iron Man is available to stream on Disney+. Its special steelbook edition will hit store shelves and online retailers on September 5.
James Gunn‘s DCU is slowly beginning to take shape. Almost five months after the announcement of the first projects that will be part of the first phase of the new stage of the franchise, Gods & Monsters, the first series and films of the new canon are already in development.
While some projects such as the spinoff of The Batman, The Penguin or the Amanda Waller series are still underway, new stories will come under Gunn and Peter Safran’s leadership, and some are already well advanced in their production. One of the clearest cases is Superman: Legacy, which has already finished its first draft of the script and has started its casting process.
MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
But the production that has taken the most steps forward is Creature Commandos, an animated series that will introduce a peculiar group of heroes to the new DCU. And, despite not being developed for live-action format, it will connect directly with the other projects and its protagonists will have the opportunity to play their characters’ flesh-and-bone versions if they appear in another film or television show.
However, this has raised concerns from some fans. On Twitter, Gunn responded to a follower who thought they would use AI for the voice actors in the animated projects:
“If the DCU is going to use the same actors who play characters in live action also do voice acting for the cartoons, then I will not be shocked at all if the voice roles are AI generated from a licensed sound bank of the actor’s voice.”
“No way.”
The Battle Against AI
A24
The use of Artificial Intelligence in film and in daily life has become something very common. However, in the long term, some see it as a threat. Recently, when the writers’ strike began in Hollywood, the rumors about different studios considering finalizing scripts using AI became very strong during the first few weeks.
Joe Russo, one of the directors of Avengers: Infinity War and Avengers: Endgame, was among the first ones to raise his voice about it showing his concern about how Artificial Intelligence could affect the industry:
“I think everyone should be scared of AI. I don’t know if you’ve heard any of the Drake ‘songs’ that have been dropping on social media, but it’s here. It’s not going anywhere. When the creatives are engaged and the creatives are spearheading the use of technology — look at James Cameron’s entire career — that technology ends up in service of artists rather than vice versa. If corporations drive the adoption of that technology, it might be a different story.”
Tom Hanks also spoke about the subject, revealing that he believes that in the future when he is no longer around, he could continue acting thanks to technology:
“Anybody can now recreate themselves at any age they are by way of AI or deepfake technology. I could be hit by a bus tomorrow and that’s it, but performances can go on and on and on and on. Outside the understanding of AI and deep fake, there’ll be nothing to tell you that it’s not me and me alone. And it’s going to have some degree of lifelike quality. That’s certainly an artistic challenge but it’s also a legal one.”
Honkai: Star Rail recently updated to 1.1, and with it comes a new character, new events, and what we thought would be new functions, but it seems like we may have to wait a little bit longer for perhaps the one thing I was really looking forward to. And that is the chat functions between friends.
Honkai: Star Rail Claims Chat Between Friends Has Been Delayed Until Further Notice
Wow, not much of a source for information, but I’m kind of used to Hoyoverse being scarce with providing news on their update. If you weren’t aware before, Honkai: Star Rail will introduce similar functions from Genshin Impact where you can chat with the people you’ve exchanged UIDs with.
Whether you’ve met that person through the game itself or you knew each other beforehand, then exchanged information so that you can stay connected through the game and not have to dip to Discord to talk to each other between cutscenes. This is kind of a big blow because there weren’t a lot of functions that Honkai: Star Rail was missing when new players went into it, but connecting between friends online was definitely one of them.
And while I do love connecting with my friends and fooling around in chat while playing the game, the most exciting feature is all the emoticons that are going to be available when it is released! We’ve already seen plenty of adorable Pom-Pom icons in the chat message we have with characters already, but similar to Genshin Impact, we can also expect characters to have emotive icons too.
You may have already seen some floating around online in the form of those Profile Icons you can get through the Battle Pass, but it’d be even better to see and send those to your friends. Sampo flicking through and counting his money, Bronya’s ridiculous outdated flowery style when it comes to using emotes, and all of the cute ones we can expect from a chibi March 7th.
In the proliferation of subgenres, the media noir is perhaps the rarest. From the ’50s alone, Billy Wilder’s Ace in the Hole, Fritz Lang’s While the City Sleeps, and Alexander Mackendrick’s Sweet Smell of Success spring to mind. Just lately, with the exception of Dan Gilroy’s Nightcrawler (2014), there hasn’t been too much evidence of a renaissance, but Roxine Hellberg’s satisfying feature debut taps back into the same dark wells of oral ambivalence corruption and power, casting the excellent Bel Powley as a journalism student who will do whatever it takes to make it in the cut-throat world of TV news broadcasting.
It’s possible that the media noir was supplanted by the white-knight school of journalism movies, which has been going strong since All the President’s Men (1976) and struck Oscar gold as recently as 2015’s Spotlight But that was in the dinosaur print era, and Cold Copy takes place in the bright light of the brave new world of viral news, social media pile-ons and OnlyFans celebrities. Mia Scott (Powley) knows the golden age is over when she takes on a postgrad degree focusing on investigative technique. Her tutor tells her as much, saying, “Journalists with degrees make less than girls posting from their bedrooms about succulents and kombucha.”
Mia’s tutor is Diane Heger (Tracee Ellis Ross), the host of The Night Report (TNR) and a hard-nosed news reporter who gives her students a tough time — and Mia the toughest time of all. But Mia is under the spell of Heger’s public image: right at the top of the film we see Heger pontificating on the needs of the job. “Journalism is not a vocation, it’s a persona,” she says. “It has to be. You’re trying to wrangle deep, uncomfortable truths from people that, if revealed, can change the course of their lives.” This somewhat dogmatic description of journalism is music to the ultra-idealistic Mia’s ears, but not everyone is taken in. “She’s Dr. Phil, not Marie Colvin,” says her flatmate.
Mia’s class is set coursework that involves researching, writing and shooting a 20-minute news segment, with the promise that only the best will be considered for broadcast on The Night Report. Mia tries a number of blind alleys before encountering the perfect subject late at night. While dealing with an aggressive date, Mia is helped out a young stranger who turns out to be 16-year-old Igor Nowak (Jacob Tremblay), the son of a famous children’s author who recently died after taking an accidental overdose.
Igor is a precocious kid who lives by his own rules, in a spacious modernist home where his father is often absent. After spending some time with him, Mia decides that Igor’s budding career as an artist is the story — a human interest piece about the healing power of self-expression — but Heger shoots this down. “A lonely kid drawing in a big house is not a story.” Stung by Heger’s rebuke, Mia doubles down on her tendency towards ruthlessness and takes advantage of Igor’s friendship, manipulating the story into a ghoulish exposé of the real events surrounding his mother’s death.
Whether Mia will go all the way with this becomes the crux of the film’s final stretch, and it’s to Powley’s credit that it can go either way. Like those ’50s media noirs, there’s a certain ambiguity in the performance that suggests Mia might actually be pretty good as a heartless, self-serving sell-out. Add to this her backstory as the child of a mother who also died young and there’s another level to her obsession with journalism: the chance to tell stories that aren’t her own, that she can shape and finesse, and which put her in control. Playing opposite her, Room star Tremblay is pretty much perfect as the little boy lost who has learned to live with his demons and only feels pity for Mia when she turns.
Disappointingly, Mia doesn’t quite go all the way, but, like the censored Hollywood movies of the ’50s, the outline of a much bleaker and perhaps more satisfying story can still be seen. Maybe it’s down to Tracee Ellis Ross: her deliciously devilish portrayal of a wilfully amoral Tucker Carlson-style infotainment star is seductive, persuasive and nastily fun, and best reflects the way journalism in the 21st century would be unrecognizable and even rather shocking even to those jaded old newsroom guys of the ’50s.
Title: Cold Copy Festival:Tribeca (Spotlight Narrative) Director: Roxine Helberg Screenwriter: Roxine Helberg Cast: Bel Powley, Tracee Ellis Ross, Jacob Tremblay, Nesta Cooper Running time: 1 hr 31 min Sales agent: UTA
The “White Lotus” Season 2 star told The Los Angeles Times that reprising her beloved “Parks and Rec” role for the January 21 episode of “Saturday Night Live” was a nerve-wracking experience.
“I was terrified to play April Ludgate again,” Plaza said. “I had a moment where I was like, ‘I don’t know how to do this.’ I really wish I had been in therapy at the time. But I was like, ‘I hope I can pull this off,’ which is just so ridiculous.”
Plaza watched YouTube compilations of April Ludgate highlight reels from the series that concluded in 2015.
Once at “SNL,” Plaza shared, “It felt very satisfying to put on that wig and pull that hoodie up. What made it so easy is being next to Leslie Knope [Amy Poehler] — I mean, if I had to go out there alone, I don’t know if I would’ve been able to.”
She added, “[‘Parks and Recreation’] did feel forever ago.”
Plaza previously addressed feeling typecast as sarcastic intern April Ludgate from the NBC sitcom series.
“I don’t mind being typecast because I feel like I was so lucky to be on ‘Parks and Recreation,’ and that was one of my first really big jobs, and I am so heavily associated with that character,” Plaza said. “I think there were years when I was on that show where I was like only getting offered those kinds of parts, and that’s just what happens. You do something, people respond to it, and they want to see you do it again, again, and again. I think you just have to be really proactive in changing that narrative for yourself. It gave me motivation to prove myself.”
She continued, “I think, for a while, I did feel like, ‘Aw man, I’m being put in a box, and I don’t like it, so I’m going to fight to get out of that and show people what I can do,’ or something. But then I started to look at it as a gift. If I convince people so well that I was that one thing and then I do something that’s totally different, it will be that much more satisfying to surprise them. So I started to try to think of it like that and be a little bit more positive and less bitter about it.”
Status: Ended”Hannibal” is a TV show produced by Dino De Laurentiis Company, Living Dead Guy Productions, AXN and Gaumont International Television. The show was originally broadcast on NBC (United States) and premiered on April 4th 2013. “Hannibal” ended after 3 seasons and a total of 39 episodes. The final episode aired on August 27th 2015.
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