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Amazon’s Prime Video greenlit a new documentary from Nascar Studios that will chronicle NASCAR’s special “Garage 56” entry at the 100th anniversary of the 24 Hours of Le Mans.

The documentary will premiere exclusively on Prime Video in more than 240 countries and territories worldwide, and comes as streamers — not always able to spend the billions required for actual sports rights — see traction from offering in-depth documentary looks at various sports. Netflix has found success with a look inside Formula 1 Racing while Prime Video in January announced the launch of “The Ride,” an inside look at the Professional Bull Riders tour.

The Le Mans event has developed a reputation as one of the world’s most challenging races. “Garage 56” will track efforts by Jim France, the current CEO of Nascar and son of Nascar founder Bill France Sr., to showcase a next-generation race car to an international audience in partnership with Hendrick Motorsports, Chevrolet, and Goodyear . The documentary will take viewers inside the preparation and behind the wheel on race day of the historic endeavor.

“We’re proud to partner with our friends at NASCAR Studios to bring this incredible story of innovation and determination to our Prime Video customers,” said Matt Newman, head of Prime Video Original sports content, in a prepared statement. “The 24 Hours of Le Mans is one of the most exciting and grueling competitions in sports, and the work that goes into preparing for a moment like this is something we think audiences will find equal parts entertaining and inspiring.”

“The Next Gen car has been a game changer in Nascar, and bringing it to an iconic international stage like Le Mans during Nascar’s 75th anniversary season is a monumental moment for our sport,” said Matt Summers, Nascar managing director, entertainment marketing and content development. “We’ve had cameras rolling behind the scenes throughout the entire journey, and we can’t wait for fans around the world to come along for the ride thanks to this amazing partnership with Prime Video.”

The documentary is being produced by Nascar Studios with Nascar’s Tim Clark, Matt Summers, Amy Anderson, and Tally Hair serving as executive producers.

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Amazon’s Prime Video greenlit a new documentary

The 15 Best Walking Shoes for Men This Summer 2023 — Shop Nike, Asics, Hoka, Allbirds and More | Entertainment Tonight
































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The Los Angeles Times, facing declining ad revenue and readership, is eliminating 74 editorial jobs, representing about 13% of the total newsroom staff. The L.A. Times Guild, an affiliate of Media Guild of the West, issued a statement that the union was “outraged” by the job cuts and “blindsided by this news.”

Staffers at the paper learned of the cut in a memo sent Wednesday from executive editor Kevin Merida, wrote wrote that the decision was “made more urgent by the economic climate and the unique challenges of our industry, the L.A. Times reported.

Going forward, the L.A. Times expects the newsroom staff to be about “500 or more,” VP of communications Hillary Manning said. “We have made the difficult decision to undergo a reorganization and eliminate certain positions within the company. The hardest decisions to make are those that impact our employees, and we are not taking this action lightly,” Manning said in a statement.

According to the L.A. Times report on the cuts, a “handful of managers” will be laid off while “reporting positions are expected to be spared but support staff will be trimmed, including editors on the news and copy desks as well as the audience engagement team.” In addition, some audio producers will also be laid off.

The cuts are first major layoffs at the Los Angeles Times since investor and entrepreneur Patrick Soon-Shiong acquired the paper in 2018 for $500 million from Tribune Publishing (which had briefly renamed itself Tronc). As part of the deal, Soon-Shiong also bought the San Diego Union-Tribune and other titles in Southern California.

The L.A. Times Guild said that the company “must discuss alternatives to their unnecessary and short-sighted decision.”

“We are outraged by management’s announcement this morning that it plans to lay off 57 Guild members across several departments, amounting to roughly 15% of our entire newsroom membership, including several Guild leaders,” Reed Johnson, LAT Guild Unit council chair and editor of Los Angeles Times en Español, said in a statement. “This list of targeted layoffs is not final. Under our contract, management is required to bargain with the Guild over proposed layoffs. Management also so far has failed to offer buyouts to staff as is required by our contract.”

Johnson’s statement continued, “We were blindsided by this news. Management did not consult us in advance about other options for cutting costs and saving money, short of layoffs. We have been bargaining a new contract since September, and this was never hinted at during bargaining… The Guild is pushing back against this outrageous and reckless action by management.”

Other media outlets that have made layoffs in recent months include the Washington Post, CNN, Vox Media and NPR. In April, BuzzFeed announced it was shutting down BuzzFeed News, and last month Paramount said MTV News was closing shop.

According to the Times’ Manning, the economics of operating a media business “have grown increasingly challenging since the onset of the pandemic, and this is especially true for news organizations. Over the past three years, we have continued to invest while working to meet budget and revenue challenges. At the same time, we have focused our resources in areas that strengthen our ability to compete, grow revenue, reach new audiences and produce vital journalism in the public interest. We are positioning ourselves to navigate economic headwinds through this year and beyond.”

The company’s focus “remains on our long-term plans to transform the Los Angeles Times into a self-sustaining institution that will serve the community for generations to come,” Manning said.

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The Los Angeles Times, facing declining ad

On tech platforms these days you can get away with just about anything, as long as you’re running for president.

Take Robert F. Kennedy, Jr. A leading anti-vaccine conspiracy theorist, Kennedy lost his Instagram account in January 2021 when he tried to scare people away from getting the covid-19 vaccine. His nonprofit organization, Children’s Health Defense, lost its account the following year for falsely warning that the covid vaccine harmed people’s organs and was dangerous to pregnant women.

Platforms establish policies against spreading medical misinformation because they can spread information at a high speed and with few checks on its accuracy. It’s particularly important to enforce those policies on large accounts, like Kennedy’s, which has more than 770,000 followers: platforms often recommend their posts more often, giving fear-mongers like Kennedy unearned reach.

The real point of running for office is to draw more attention to his harmful views

Covid has caused more than 1.1 million deaths in the United States alone, and 6.1 million hospitalizations; throughout 2021, when Kennedy was posting, the majority of people who died had not been vaccinated.

If you or I went on Instagram and created daily posts saying the covid vaccines are harmful, we’d likely lose our accounts just like Kennedy did. But now he’s launched a bid for the presidency that looks to have about as much chance as Connor Roy did in Succession. And presto: he has his Instagram account back.

“As he is now an active candidate for president of the United States, we have restored access to Robert F. Kennedy, Jr.’s, Instagram account,” Meta told the Washington Post.

Needless to say, Kennedy is also welcome on Twitter, where Elon Musk hosted him in a Spaces event on Monday that offered lunatic counter-programming to Apple’s announcement of the Vision Pro headset. Seemingly confused about the event’s purpose, Kennedy spent a significant portion of the discussion interviewing Musk. When he did get a chance to offer his own views, Kennedy suggested that anti-depressants cause school shootings and that covid was a bioweapon.

The traditional defense for offering candidates a platform like this, no matter how noxious their views, is that sunlight is the best disinfectant. Armed with the knowledge that Kennedy is crazier than a soup sandwich, the electorate can go forth and ensure that he does not win the Democratic nomination.

And that’s true, so far as it goes. But I’d be surprised if even Kennedy thinks he can win the nomination. The real point of running for office is to draw more attention to his harmful views — and platforms have now agreed to help with his project, congratulating themselves for being stalwarts of democracy even as candidates like Kennedy play them for fools.

One function Musk now serves in the tech ecosystem is to give cover to other companies seeking to make unpalatable decisions. Across a variety of dimensions, Musk has moved fastest and loudest — and when others have followed, the response has been barely a whimper.

Mass layoffs, stricter job performance requirements, a war on remote work, paid verification for social accounts — all of these served as a kind of aphrodisiac for other Silicon Valley CEOs, who proceeded to implement their own, slightly softer versions of Musk’s cultural reset.

Most recently, Twitter’s decaying policy and enforcement systems have proven to be enticing for other social platforms.

Meta ended its 2020 election lie ban earlier this year; YouTube followed suit last week

Last month, for example, Musk told an interviewer that users who made false claims about the 2020 election being stolen “would be corrected.” But there was no accompanying effort to make that happen. And so, that same week, the top 10 posts promoting a rigged election narrative racked up a collective 43,000 retweets, the Associated Press reported.

As Musk was surely not aware, his predecessors had sought to unwind the company’s enforcement of 2020 election lies. In January 2022, CNN reported to general surprise that Twitter had abandoned its old policy in March 2021. Enforcement measures were intended to operate only until the next president was inaugurated, a spokeswoman said at the time, and no longer.

In any case, Twitter’s peers took notice of its reversal and chose to follow suit. In February, Meta restored Donald Trump’s accounts, and upon reinstating him said it would no longer prevent users from lying about the 2020 election. And on Friday, YouTube announced that it wouldn’t, either.

Here’s Shannon Bond at NPR:

The Google-owned video platform said in a blog post that it has taken down “tens of thousands” of videos questioning the integrity of past U.S. presidential elections since it created the policy in December 2020.

But two and a half years later, the company said it “will stop removing content that advances false claims that widespread fraud, errors, or glitches occurred in the 2020 and other past U.S. Presidential elections” because things have changed. It said the decision was “carefully deliberated.”

“In the current environment, we find that while removing this content does curb some misinformation, it could also have the unintended effect of curtailing political speech without meaningfully reducing the risk of violence or other real-world harm,” YouTube said.

YouTube provided no evidence for its assertion that hosting and promoting 2020 election lies would not “meaningfully” increase the risk of harm. It seems curious, given the events of January 6th, the ongoing threats to election workers, and the fact that about half of Americans didn’t think votes in the the midterm elections would be counted properly.

And sure, tech platforms aren’t the only place you’ll find Trump repeating his old election lies. Fox News was nearly sued out of existence for the whoppers that aired on its network, and more recently CNN hosted a town hall with the former president in which the accompanying corrections for his ravings ran into the thousands of words.

But it’s one thing to host a single ill-considered town hall in the name of ratings and another to volunteer to serve in perpetuity as a digital library for all the election lies that candidates and their surrogates see fit to upload. YouTube’s decision represents a massive in-kind donation of storage and bandwidth to the same forces that are attempting to ban video platforms and who recently almost eliminated the Section 230 protections that YouTube depends on.

It’s easy to forget how close we came to losing our democracy

On one hand, the Big Lie was never going to be solved at the level of tech policy. When 147 members of Congress are voting to overturn the results of a free and fair election, it’s clear that the rot goes much deeper than whatever is being posted on Twitter and YouTube.

At the same time, I find it more than a little grim that, little by little, Big Tech has opted out of the fight. Two years after the Capitol attacks, it’s easy to forget how close we came to losing our democracy. In the aftermath of January 6th, platforms came together to promote a shared sense of reality and reduce the risk of further violence. Trumpists and right-wingers responded with a sustained DDoS attack on the truth until, one by one, platforms got tired of fighting it.

On January 9, 2021, the historian Timothy Snyder wrote this about the ongoing danger of the Big Lie:

Trump’s coup attempt of 2020-21, like other failed coup attempts, is a warning for those who care about the rule of law and a lesson for those who do not. His pre-fascism revealed a possibility for American politics. For a coup to work in 2024, the breakers will require something that Trump never quite had: an angry minority, organized for nationwide violence, ready to add intimidation to an election. Four years of amplifying a big lie just might get them this. To claim that the other side stole an election is to promise to steal one yourself. It is also to claim that the other side deserves to be punished.

We are now two years into the amplification of that Big Lie. And one of the last checks on its viral promotion — the willingness of tech platforms to deny their services to those who endorsed it — has now fallen.

Among a certain kind of libertarian-leaning tech executive, criticism of disinformation on social networks has almost always been cause to roll the eyes: magical thinking from bed-wetting liberals who believe dangerous ideas can be snuffed out through censorship alone.

My fear is that the next two years will reveal that this attitude reflects a magical thinking of its own — that offering the most powerful communications tools ever devised to the enemies of democracy, allowing them to nibble away at the fabric of reality without consequence, will somehow fail to affect the society that they seek to unmake.

We are in for an ugly time. And should the worst happen, I hope we remember this: the moment when tech platforms, having briefly banded together to do the right thing, looked each other in the eye and one by one all gave up.

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On tech platforms these days you can

Every book adaptation has its own set of challenges, but the challenges in Daisy Jones & the Six were unlike any I had ever encountered. I mean, sure, the source material provided the writers and I all sorts of wonderful characters and memorable moments, a complicated love triangle and an ending that could take your breath away. But even that wouldn’t be enough — not if we didn’t have the music.

The success of Daisy Jones & the Six was always going to hinge on the songs. If we couldn’t convince viewers (and listeners) that the band at the center of the series released some undeniably great music, the whole souffle of the show would collapse. And none of us, Taylor included, were actual songwriters. So obviously we needed some partners. 

My co-showrunner Will Graham and I met with a handful of potential music producers (and we were actually pretty sure we had our guy) but there was one more meeting on the books with Blake Mills and Tony Berg. I was familiar with Blake from his work with Alabama Shakes and Perfume Genius, but I knew him more as a session musician than as a pop/rock songwriter. The real reason we were excited for this meeting was that Blake and Tony operated out of Sound City Studios in Van Nuys, a space with an incredibly storied history — Nirvana’s Nevermind was recorded there — though for our purposes it might best be known for the place where Mick Fleetwood first heard Lindsey Buckingham play guitar. We sat down with Blake and Tony and talked about the project and they blew us away. After a few minutes in Studio A, we knew without a doubt that they were exactly what we needed to take this over the top. 

Blake was especially excited about the idea of writing a lost, classic record. We all agreed that Daisy Jones & the Six shouldn’t sound like any one specific band from the ’70s — but what if we could make an album that could have existed then that you could easily spin alongside other very real hits from that decade? Daisy Jones author Taylor Jenkins Reid had written lyrics for the songs in her book, but when I received an advanced copy of the novel they weren’t even in there yet. So when it came time to adapt the book, she was clear that no one should feel bound by those songs for our version of the story. Blake loved the idea of writing in character and crafting songs through someone else’s perspective, and while he wanted to have a hand in writing each of the songs we needed for the show, he brought in a number of his friends to collaborate —  friends like Phoebe Bridgers, Jackson Browne, Z Berg, Marcus Mumford … it was nuts.

From left: Cast-members Josh Whitehouse, Suki Waterhouse, Sebastian Chacon, Sam Claflin, Riley Keough and Will Harrison in Prime Video’s Daisy Jones & The Six.

Courtesy of LACEY TERRELL/amazon studios

The process went a little like this: Either we would give them very specific prompts like: “This is a song Billy (Sam Claflin) writes as a diss track for Daisy (Riley Keough) that he then makes her sing.” And he would run with that. Or he would send us songs and ask if we had somewhere they might fit. We would never tell him exactly what to write, but we’d always give him a clear narrative function that each song needed to have and then go back and forth with it.

So many of the songs tell the story of the band’s growth and how its members change and develop as individuals, but we also needed to show them grow musically. We never wanted any bad songs in the show, but we did want to hear the progression. The songs Daisy writes for herself had to be very different from the songs she writes when she connects with Billy. The songs Billy writes with his band in Pittsburgh are very different from the songs he writes with Daisy. The idea was that they bring out the best in each other. So how do you write a song that feels almost unfinished when, at the same time, it should still sound exceptional? For example, with their first single “Honeycomb,” there’s a version on the album that becomes a big hit for the band. But for Billy’s original version, Blake had to retroactively write a “less spectacular” song that existed before Daisy came in and improved it.

Once we had the music there was the second challenge that our actors also needed to be convincing as rock stars. To prepare for their roles, the cast was scheduled to do a three-week band camp to learn the instruments and the songs. And then COVID happened. But instead of being disruptive, the actors stayed with it, doing all of their coaching through Zoom in a process that ended up stretching 18 months instead. Towards the end of that process, my wife Lauren (President of Film and Television for Hello Sunshine and a producer on the series) had the great idea to get them up on a live stage in front of 50 friends and family to see how they do. The actors assembled the setlist themselves, picked the songs they wanted to do, and they performed for all of us. They shocked us all by how good they were and the whole experience gave them (and us) a huge amount of confidence! They were fully prepared to record each song live when we went into production. In the end, the final cut is a mixture of playback and live.

We knew we were onto something when the cast and crew’s favorite songs kept changing over time, and the reception has been the same with viewers. It’s been very gratifying to watch the response to these songs that for three years basically only my kids could listen to in the secrecy of our home during COVID. People used to read the book and Google, “Is Daisy Jones & the Six a real band?” And the answer would be no. But now, if you Google the same question, there is indeed a Daisy Jones and the Six album — the first by a “fictional” band to ever hit number one on iTunes!

Editor’s note: This interview took place before the May 2 launch of the writers strike.

This story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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Every book adaptation has its own set

In 2020, at the height of the pandemic, Universal Pictures and its art-house sibling, Focus Features, set off alarm bells in Hollywood by ending the long-held practice of giving theaters an exclusive window of about 90 days to play new movies. Instead, their movies, which have since included “Jurassic World: Dominion,” “Belfast,” “Cocaine Bear” and “M3gan,” would become available for digital rental or purchase — at a higher price — after as little as 17 days.

For a change-phobic industry that still views the 1981 arrival of armrest cup holders as a major innovation, the introduction of the service, known as premium video on demand, prompted extensive hand-wringing. Filmmakers and theater owners worried that ticket buyers would be more reluctant to leave their sofas if they could see the same films on their TV sets or iPads just a couple weeks later.

Universal’s competitors mostly stuck with the status quo.

But the willingness by Universal to experiment — to challenge the “this is how we’ve always done it” thinking — seems to have paid off. Universal has generated more than $1 billion in premium V.O.D. revenue in less than three years, while showing little-to-no decrease in ticket sales. In some cases, box-office sales even increased when films became available in homes, which Universal has decided is a side effect of premium V.O.D. advertising and word of mouth.

Universal, for instance, made “Minions: The Rise of Gru” available for premium V.O.D. after 33 days in theaters in 2022. The movie stayed in theaters after that, selling more tickets than “Minions,” released in 2015, did after 33 days, according to data from Comscore, an analytics company. Data for Universal’s “Jurassic World” and “Fast and Furious” franchises shows a similar effect.

An interesting wrinkle: Donna Langley, the chairwoman of the Universal Filmed Entertainment Group, which includes Focus Features, said the company had seen only a small decrease in revenue from traditional V.O.D. That service lets viewers rent or purchase movies at a lower price after 90 days in theaters. She said that the premium offering was “an additive, important new revenue source that didn’t exist three years ago.”

In other words, Universal thinks that, to some degree, it has found an entirely new customer.

“It has had a hugely positive impact on our business,” Ms. Langley said, adding that without it, Universal would have likely had to make fewer movies. Universal and Focus will release 26 movies in theaters this year, more than any other Hollywood studio.

Universal charges as much as $25 to rent a film for 48 hours and $30 to buy it during its premium V.O.D. sales period. Those prices can drop to $6 and $20 in the later, traditional sales window.

About 80 percent of premium V.O.D. revenue goes to Universal, with sales platforms like iTunes and Google Play keeping most of the rest. (A small cut goes to theater chains like AMC Entertainment — grease to get them to agree to reduced exclusivity). Ticket sales are typically split 50-50 with theaters.

Premium V.O.D. revenue is small compared to box-office sales. But it’s certainly not nothing.

“The Super Mario Bros. Movie” has generated more than $75 million in premium V.O.D. revenue since May 16, Universal said. “Jurassic World: Dominion,” “The Croods: A New Age” and “Sing 2” each collected more than $50 million. Universal said that 14 films, including “News of the World,” a period drama starring Tom Hanks, and “M3gan,” each had more than $25 million.

Films from Focus, including “Belfast” and “Mrs. Harris Goes to Paris,” have generated roughly $5 million each. For some art films, a theatrical release has become valuable mostly as “a marketing tool” for premium V.O.D. rentals and purchases, according to Julia Alexander, the director of strategy at Parrot Analytics, a research firm.

Much like DVD sales in the 1990s and 2000s, premium V.O.D. has started to provide a type of financial safety net on box-office misses. “The Focus titles, in particular,” said Peter Levinsohn, the Universal Filmed Entertainment Group’s chief distribution officer. “Those smaller films aimed at older moviegoers have become, I wouldn’t say reliant on it, but they have benefited hugely.”

It’s also about flexibility, Mr. Levinsohn said. The studio often decides that 17 days (three weekends) of theatrical exclusivity is enough. Sometimes, based on ticket sales, it allows for longer. “The Super Mario Bros. Movie” played exclusively in theaters for 41 days.

“We have also taken back control of the decision of when to make our content available in the home, based on the most optimal timing for an individual film,” Mr. Levinsohn said. NBCUniversal said in January that revenue from its studios (both film and TV) increased 23 percent in 2022, to $11.6 billion, compared to a year earlier.

Every studio has been trying to find creative ways to maximize movie profits in a fast-changing business. Part of Universal’s challenge is guessing what kind of impact premium V.O.D. might have on streaming: If movies are sold or rented more widely before they arrive on a streaming service (in Universal’s case, on Peacock and Netflix), does that make the movies less valuable tools for encouraging people to sign up for streaming services?

“The impact on streaming is not quite as big as people might have expected, but it’s still notable,” Ms. Alexander said.

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In 2020, at the height of the

Shannen Doherty is facing even more difficulty in her battle against breast cancer.

The “Beverly Hills, 90210” and “Charmed” actress, 52, shared on Instagram that her cancer has spread to her brain. An emotional video posted Tuesday shows a crying Doherty wearing a mask and undergoing a CT scan at Cedars-Sinai in January.

“My fear is obvious. I am extremely claustrophobic and there was a lot going on in my life,” she captioned the video.

On Monday, Doherty shared a video from Jan. 9 of doctors molding a flexible MRI mask to her face.

The actor was diagnosed with breast cancer in 2015, as revealed in a lawsuit that she and ex-husband Kurt Iswarienko filed against her former accountants and business managers. The following year she told “Entertainment Tonight” that the cancer had spread to her lymph nodes and she had started chemotherapy and radiation treatment to keep the cancer at bay.

Doherty was in remission in 2017, but then she was diagnosed with Stage 4 breast cancer, she revealed in February 2020.

“I don’t think I’ve processed it. It’s a bitter pill to swallow in a lot of ways,” she said on “Good Morning America.”

According to a journal published in the National Library of Medicine, “breast cancer brain metastasis (BCBM) is one of the most common forms of breast cancer metastasis.”

Doherty, who underwent a mastectomy, said on Instagram that she was grateful for the medical team at Cedars-Sinai, but told her Instagram followers about “that fear” of her cancer battle.

“The turmoil….. the timing of it all…. ,” she wrote. “This is what cancer can look like.”

The ‘90s superstar’s health update comes months after she and Iswarienko filed for divorce in April after 11 years of marriage.

“Divorce is the last thing Shannen wanted,” a representative for Doherty said in a statement shared with the Associated Press. “Unfortunately, she felt she was left with no other option.”

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Shannen Doherty is facing even more

Disney just released a new collection on Disney+ for the streaming release of Avatar: The Way of Water.

After becoming the third-highest-grossing film of all time at the box office, James Cameron’s Avatar 2 is finally available to stream from the comfort of one’s own home.

For those who think the experience might not compare to that of what it offers in a movie theater, worry not. According to the director himself, Cameron, all one needs is a “reasonably large flat-screen TV” and a “decent sound system.”

Disney+ Gets A New Avatar Collection

Disney

Disney added a brand new collection for the Avatar franchise onto Disney+ that groups together half-a-dozen projects focused on the world of Pandora.

The service tends to put together collections for its biggest franchises in order to draw more attention to them on the platform and make it easier for viewers to find specific characters or properties.

In fact, there are 12 different Marvel Studios collections, with the Ant-Man Collection being most recently added in May. This new one for Avatar makes it the 104th collection on the streamer in the U.S.

The new artwork for Avatar‘s collection sees Sam Worthington’s Jake and Zoe Saldana’s Neytiri in the top right, with Sigourney Weaver’s Kiri and Bailey Bass’ Tsireya.

Avatar 2
Disney+

Of course, the main inclusion of the Disney+ collection is the franchise’s first two entries, Avatar and The Way of Water.

Additionally, there are three bonus features that originally came with the digital release of Avatar 2.

The first, titled Building the World of Pandora, takes a deep dive into the production’s “years of research” in order to build the film’s unique world:

“James Cameron and a team of talented artists combine years of research with their design skills to build the world of Pandora with new characters, creatures, indigenous clans, underwater environments and the take-no-prisoners hard-tech world of the RDA.”

Then there’s Capturing Pandora, a featurette that explores the movie’s performance capture work:

“James Cameron’s approach to performance capture has the cast performing in a volume rigged with infrared cameras to capture their movement, and head rig cameras to capture emotion on their faces with only the boundaries of imagination to limit them.”

Thirdly, there’s a special feature presentation simply titled Stunts, that goes over just that:

“The Avatar stunt team isn’t just creating breathtaking action, they’re driving the story. From racing underwater on ilus, flying the skies on ikrans, to maneuvering RDA speed boats, the stunt team leaves you breathless and wanting more.”

Lastly, there’s a special edition of 20/20 called Avatar: The Deep Dive, included amongst the other titles.

Avatar, The Way of Water
Disney

Only The Beginning of Avatar

Many weren’t sure if The Way of Water was going to perform well, with some believing that the franchise’s popularity was already long gone. Given the performance of the sequel, that’s clearly not true.

While there are only two movies in this new collection so far, it doesn’t seem like James Cameron intends to slow down any time soon. In fact, there could even be as many as three more films in the director’s Pandoran odyssey.

First up will be Avatar 3, which is currently aiming for a December 20, 2024, release date. The third entry will feature desert and icy biomes alongside a new fire tribe of Na’Vi.

According to Cameron, fans might even get to see the franchise travel to Earth if Avatar 5 ends up being made.

The Way of Water will be streaming on Disney+ on June 8.

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Stephen Amell seems ready to let go of the Arrowverse and Oliver Queen, but he remains concerned about the future of the DCU. The actor was in charge of starring in the first official show of the television universe built by The CW, when Arrow premiered in 2012.


Now, with the end of The Flash, the franchise came to an end after more than ten years on the screen and eight shows that shared stories, crossovers, and characters. However, what they managed to do on the small screen was quite a challenge to replicate on the big one.

In 2013, Warner Bros. Pictures and DC released what would be the first film in a larger universe. Man of Steel kicked off the Snyderverse, which seemed to have a bright future. However, the next installment in the saga, Batman v Superman, failed to win over critics or audiences, and when Zack Snyder had to leave Justice League before finishing it, the studio turned to Joss Whedon to take over, after the success he had achieved at Marvel.

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

But the changes made by Whedon in the film, as well as the adjustments that the studio made to another of the films in the franchise, 2016’s Suicide Squad, resulted in two films that were equally or more criticized than the previous one. Despite some box office hits like the first parts of Wonder Woman, Aquaman, and Shazam!, the franchise began to fall little by little.

For this reason, last year David Zaslav, CEO of Warner Bros. Discovery announced the creation of DC Studios, a division specifically in charge of all projects related to the comic book company, which would build a new DCU under the direction of James Gunn.

However, for Amell, the project still lacks clear ideas to move forward properly.


Why Stephen Amell Thinks the DCU is Sending Mixed Messages

Warner Bros. Television

During a live interview on Whatnot, the Arrow actor confessed being a little confused about what the company wants to do with the future of the franchise:

“I don’t know, man. I don’t know. Those guys… the DCEU, they need to decide if they think that they’re better than television or if they want to participate. Because I get mixed messages, which to me just signals that, I don’t know. You guys do your own thing. We did our thing. We don’t… I mean… Listen, as of right now, first of all, I wish everyone nothing but the best. I want nothing more than amazing movies, but right now, they need us a lot more than we need them.”

And that wasn’t all, Amell also talked about the idea of ​​a new actor playing Green Arrow and expressed his excitement for the character to appeared again:

“I am a custodian for Oliver Queen, and [Grant Gustin] is a custodian for Barry Allen in the same way that… look, I don’t think anyone’s asking Tom Welling how he feels about who’s going to play the new Superman. Now, I get the proximity and stuff like that, but there will be another Oliver Queen. There will and it’ll be new and cool and exciting and however much the internet hates it is probably a direct indication as to how good it’s going to be.”

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Stephen Amell seems ready to let go

Researchers have developed a promising synthetic heart valve that may eventually be used for growing children. Harvard’s Wass Institute and John A. Paulson School of Engineering and Applied Sciences (SEAS) created what they call FibraValve. This implant can be manufactured in minutes using a spun-fiber method that lets them shape the valve’s delicate flaps on a microscopic level — ready to be colonized by the patient’s living cells, developing with them as they mature.

FibraValve is a follow-up to JetValve, the team’s 2017 artificial heart valve that employed many of the same principles. The updated version uses “focused rotary jet spinning,” which adds streams of focused air to more quickly and accurately collect synthetic fibers on a spinning mandrel — making it easier to fine-tune the valve’s shape. As a result, the polymer’s micro- and nano-fibers can more precisely replicate the tissue structure of an organic heart valve. The manufacturing process takes less than 10 minutes; alternative methods can require hours.

Wyss Institute at Harvard University

The technique also uses “a new, custom polymer material” called PLCL (a combination of polycaprolactone and polylactic acid) that can last inside a patient’s body for about six months — enough time (in theory) for the patient’s cells to infiltrate the structure and take over. Although it’s only been successfully tested in sheep so far, the long-term vision is for the resulting organic tissue to develop with human children as they mature, potentially voiding the need for risky replacement surgeries as their bodies grow. “Our goal is for the patient’s native cells to use the device as a blueprint to regenerate their own living valve tissue,” said corresponding author Kevin “Kit” Parker.

In the researchers’ test on a living sheep, the FibraValve “started to function immediately, its leaflets opening and closing to let blood flow through with every heartbeat.” Additionally, they observed red and white blood cells and fibrin protein collecting on the valve’s scaffolding within the first hour. The scientists say the synthetic valve showed no signs of damage or other problems. “This approach to heart valve replacement might open the door towards customized medical implants that regenerate and grow with the patient, making children’s lives better,” said co-author Michael Peters.

The research is still preliminary, and the team plans to conduct longer-term animal testing over weeks and months for further evaluation. However, they believe their breakthrough could eventually find other uses, including creating different valves, cardiac patches and blood vessels. You can read the entire paper on Matter.

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Researchers have developed a promising synthetic heart

The summer of AMPTP negotiations is here. 

Yesterday evening, SAG-AFTRA authorized a strike with some huge numbers: 97.91% in favor. Almost half of the eligible members voted—47.69%. If a strike happens, it will begin on June 30th. 

SAG-AFTRA president Fran Drescher said in a statement:

“We are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall. The strike authorization votes have been tabulated and the membership joined their elected leadership and negotiating committee in favor of strength and solidarity. I’m proud of all of you who voted as well as those who were vocally supportive, even if unable to vote. Everyone played a part in this achievement. Together we lock elbows and in unity we build a new contract that honors our contributions in this remarkable industry, reflects the new digital and streaming business model and brings ALL our concerns for protections and benefits into the now! Bravo SAG-AFTRA, we are in it to win it.”

Drescher and SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree-Ireland sent out a booklet that accompanied the ballots. In it, they wrote, “Our goal in this negotiation is to ensure our members working in film, television, and streaming/new media can continue to earn a professional living with a contract that honors our contributions. We need a contract that will increase contributions to our benefit plans and protect members from erosion of income due to inflation and reduced residuals, unregulated use of generative AI, and demanding self-taped auditions.”

SAG-AFTRA hasn’t been on strike since the merger of SAG and AFTRA in 2012, and their last strike against the AMPTP was in 1980. 

They have been out on the picket lines in solidarity with the WGA, and now may find themselves striking alongside them. The DGA took a deal from the AMPTP and still has to vote on it, but it’s unclear how they will continue to work without actors and writers. 

This is the summer of collective bargaining in Hollywood and we’re seeing seismic changes throughout. 

We’ll keep you updated.      

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The summer of AMPTP negotiations is

TBH, a subplot worthy of Diablo Cody herself. During the filming of the 2007 indie hit Juno, Elliot Page and co-star Olivia Thirlby were apparently hooking up…a lot. And Page just revealed how joyful the relationship was during a formative time in his life.

Thirlby was the “first woman I had a suitably consensual sexual relationship with,” the Oscar nominee writes in his just-released memoir Pageboy, per People. Both actors would have been around 19 or 20 at the time of filming, but, writes Page, “she seemed so much older, capable and centered. Sexually open, far removed from where I was at the time.” Thirlby didn’t publicly come out as bisexual for another few years, but was apparently open about her sexuality in person, and told Page she was attracted to him (this was pre-transition) right away. Okay, might have to go back and revisit Juno knowing this, because I always thought Juno and Paulie were cute together, but if Juno and Leah is on the table…?

LOS ANGELES, CA – FEBRUARY 22: Actresses Ellen Page (L) and Olivia Thirlby attend the Fox Searchlight Pictures’ Oscar and Independent Spirit Award nominees party held at the STK-LA restaurant February 22, 2008 in Los Angeles, California. (Photo by Vince Bucci/Getty Images)Vince Bucci/Getty Images

“We started sucking face. It was on…We started having sex all the time: her hotel room, in our trailers at work, once in a tiny, private room in a restaurant. What were we thinking? We thought we were subtle…Being intimate with Olivia helped my shame dissipate. I didn’t see a glint of it in her eyes and I wanted that—done feeling wretched about who I am,” wrote Page. Seriously, I would watch this movie!

Elliot Page’s memoir details both the ups and the downs of his journey in the spotlight and along the sexual and gender spectrums. He also revealed in a new interview that a stranger openly threatened him on the streets of Los Angeles, an important reminder that no amount of privilege can shield a trans person from the hate and lack of understanding that sadly exist today. Let’s all be more like Olivia and celebrate, yeah?


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TBH, a subplot worthy of Diablo Cody

Tucker Carlson — who was booted from Fox News last month — has made a serious pile of cash practicing what I like to call the conventional wisdom of the counterintuitive take. His worldview can be whittled down to this: everything you ever heard is wrong. And I mean everything. (He still believes the English alphabet has twenty-six letters but give him time.) 

Last night, he began the Twitter phase of his lucrative career. Carlson was broadcasting from an undisclosed man cave of a studio — complete with unfinished wood and fishing rods that clashed with his preppy tie and blue blazer attire. It made him look like the country club money man wandering into a meeting of the Secret Society of Maladjusted Lunkheads who all loom right off-camera. 

He then provided his rote 10-minute grocery list of Greenwald meets Greene grievances. It’s not clear if the speech was pre-planned or tied to the news of the destruction of the Kakhovka Dam on the Dnieper River, but Carlson used the catastrophe as his gleeful jumping off point. It was less than 24 hours since the incident and Ukrainian President Volodymr Zelenskyy denounced the act as Russian terrorism. 

Anyone who has ever watched Tucker knew where this was going. Carlson argued that it was likely — surprise! — a Ukraine terrorist operation. He said the largely held worldview that Zelenskyy was a courageous defender of his homeland was completely incorrect. Instead he is a “sweaty and rat-like comedian turn oligarch, a persecutor of Christians.” Not nice! Notice the drive-by quality of the “persecutor of Christians,” which is a classic Carlson fact-free zone created by, uh, Tucker Carlson.

Carlson’s long-honed strategy is to call bullshit on his enemies — in this case Bill Kristol and Senator Lindsey Graham — for sculpting the conventional view that the dam explosion was a Putin operation. He then provides his own bullshit report from the upside world. His theory for Zelenskyy being responsible is that Putin isn’t dumb enough to do this and you’d know this if you, dear watcher, weren’t bought and brainwashed by corporate media. Carlson offered the Nord Stream pipeline explosion as precedent for Zelenskyy blowing things up. The small problem is it has not been proven that Zelenskyy or Ukraine destroyed Nord Stream.

From there it was the worst cover version of Leonard Cohen’s “Everybody Knows.” Everybody knows 9/11 didn’t go down as you believe, everyone knows Oswald didn’t mow down JFK, everyone knows some “skinny dude in a dress is a girl.”

It all built up to a Carlson crescendo. The biggest news of yesterday isn’t climate crisis, transgender wars or Ukraine. No, it is the discovery that the Pentagon has UFO aircraft and the alien bodies of UFO pilots in their possession. “We know in a normal country, this news would qualify as a bombshell the story of the millennium, but in our country, it doesn’t,” said Carlson in his faux sad voice. 

Here’s the thing. A mid-level bureaucrat claiming the Pentagon has aircraft and bodies stashed away is a well-versed song by UFO guys for over thirty years. If you have seven hours to kill, I wrote about it in 2020. The thing is the story is always a “heard it from a friend who heard from a friend” account. No one has first-hand evidence and to believe this is to believe that the notoriously leaky Pentagon has been able to keep this a secret for my entire lifetime. Think of it as the “Seinfeld” episode in which Jerry demands Kramer to actually “show me the levels” he could build in his apartment.

Carlson wrapped up by proclaiming our country is filled with well-meaning folks “manipulated by lies, silenced by taboos. It is unhealthy and it’s dehumanizing, and we’re tired of it. As of today, we’ve come to Twitter which we hope will be the shortwave radio under the blankets.”

And that’s Tucker on Twitter’s central problem, well, besides the lies. His act works best when it is accompanied by the graphics and bombast of an actual network news program. Carlson’s followers on Twitter praised Tucker’s return, but some said it was real bummer to have the family gather around the iPhone in order to watch. Demagogues work best on the big screen or in torch-lit stadiums. 

Poor Tucker. He was big and then the picture got small.

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Tucker Carlson — who was booted from


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The Iron Sheik Dies: Wrestling Legend Dead

Is Balenciaga back?

The luxury fashion house notched another high-profile mark on its comeback by dressing a slew of stars on its home turf in France during the recent Cannes Film Festival including Oscar winner Michelle Yeoh. The Everything Everywhere All at Once star wore not one but two Balenciaga Couture looks on May 21, first on the Palais red carpet and later that night to accept top honors at the Women in Motion Awards, an exclusive festival event sponsored by the house’s parent company Kering.

Also at the exclusive event, Salma Hayek-Pinault (married to Kering boss Francois-Henri Pinault) wore Balenciaga as did her husband in what proved to be a strong signal of support for the brand during a glamorous event, which is an official collaboration with the festival. The Cannes showings, which followed a March 5 runway show during Paris Fashion Week, also included Balenciaga ensembles on Naomi Campbell, Anok Yai, Alton Mason, Renata Litvinova, Roh Yunseo, Turbo Liu, Vittoria Cerett and Helena Christensen. Isabelle Huppert, an ambassador for the house, also wore two Balenciaga looks on May 21, including one for the Kering dinner as well.

“Michelle never would’ve done that during awards season,” hissed one fashion insider, referencing the potential image blowback of wearing Balenciaga so closely after the house fell into controversy last November after debuting campaigns that featured children as subjects holding teddy bear handbags in BDSM-inspired gear and including prop documents revealing a lawsuit related to child pornography. The Hollywood Reporter reached out to a rep for Yeoh but did not hear back as of press time.

Demna, Balenciaga’s creative director, later apologized. “This was an error of judgment. I regret this a lot. We learned from this now and there are going to be closer and more attentive checks and validation steps applied before any image goes out. For this I want to say I am sorry,” he told Vogue in February. “I sincerely apologize for what happened and to anyone who has been hurt by it.”

See some of the Balenciaga looks below.

Michelle Yeoh in Balenciaga Couture

Rocco Spaziani/Archivio Spaziani/Mondadori Portfolio via Getty Images

Isabelle Huppert

House ambassador Isabelle Huppert in Balenciaga

Vittorio Zunino Celotto/Getty Images

François-Henri Pinault and Salma Hayek Pinault

Balenciaga couple: François-Henri Pinault and Salma Hayek Pinault

Daniele Venturelli/Getty Images

Helena Christensen

Helena Christensen in Balenciaga

Mike Marsland/WireImage

Alton Mason

Alton Mason in Balenciaga

Stephane Cardinale – Corbis/Corbis via Getty Images

Anok Yai

Anok Yai in Balenciaga

Mike Coppola/Getty Images

This story first appeared in the June 7 issue of The Hollywood Reporter magazine. Click here to subscribe.

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Is Balenciaga back? The luxury fashion house

Mark Ruffalo: Martin Scorsese should establish a national film endowment

No surprise Mark Ruffalo, who plays the MCU’s Hulk, had a thoughtful answer about the economics of the movie biz following the publication of Scorsese’s op-ed. “If we’re living in a world where economics are how we measure the value of a society, then yeah, whoever makes the biggest thing is going to dominate,” Ruffalo said in an interview with with BBC Cinematic’s Sam Asi in 2019. “They are going to try and keep making it again and again. In that article [Scorsese] said something really interesting, and I wish he took it all the way. He said, ‘I am not suggesting that we subsidize films.’ But that’s exactly what he’s suggesting. We should have a national endowment of the arts that gives money to another kind of cinema and does support another kind of cinema.”

He continued, “If you’re working in the milieu of ‘I’m going to try and make a movie that has economic success,’ which [Scorsese] does too by the way, then how can you complain about that system when you’re not on top of it anymore? I would love to see Marty create a national film endowment, and he could do this, that lets young, new talent come in that isn’t just driven by the marketplace but driven by precepts of art. That would be amazing. That’s really the crux of this conversation.”

(For the record, Martin Scorsese is the founder and chair of The Film Foundation, whose mission is to restore and archive films across the globe. It also has an educational program to teach young people “about film language and history.” Maybe not precisely the same, but hey, you can’t say Marty isn’t doing his part.)

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Mark Ruffalo: Martin Scorsese should establish a

Why do you watch movies? For many, it’s a form of entertainment. Millions of viewers turn to film purely for entertainment. But there’s another group of people that rely on movies for a much deeper purpose—coping and healing. 

Without a doubt, movies and other arts have played a significant role in the therapeutic and healing processes of many people.

Incorporating the Arts Into Therapy 

Expressive therapy uses the creative arts to help individuals navigate emotional, psychological, and physical challenges to promote growth, healing, and expression. The creative arts include film, dance, drama, writing, and poetry. 

Because there are so many creative outlets to use in this kind of therapy, it can accommodate the needs and interests of different people, which is a part of the reason why it’s used today. 

Film is far from the only genre with therapeutic benefits. Also falling under the expressive therapy umbrella is music therapy. Music therapy uses clinical and evidence-based music interventions to help patients process trauma, become more accepting of themselves, and achieve other therapy goals. 

Whether a patient is creating music or listening to it, the hope is that they’ve found something that helps them work through what they need to work through. 

And of course, we can’t overlook film’s use in expressive therapy.

Cinema Therapy and What Our Brains Do When We Watch Films 

Cinema therapy or movie therapy is a form of therapy or self-help that uses films to help patients draw meaningful insights, inspiration, and mental and emotional releases that inspire change and personal development. 

PsychCentral elaborates on an article by Bronwyn Robertson, a licensed professional counselor, where she talks about the healing power of movies and TV. She gives some great insight into what happens with our brains when we watch movies. 

“Cinema can engage people at a very deep level,” Robertson explains. “It can move beyond traditional talk therapies because it’s multi-sensory and can quickly trigger perceptual, cognitive, and emotional processes. Watching cinema can activate areas of the brain associated with emotional processing, reflection, problem-solving, and empathy.”

Movies and TV shows can offer the messages we need to hear to spark growth and change. They also give us characters that we see ourselves in. 

Take Crazy Ex-Girlfriend or You’re the Worst, for example. Instead of relying on the tired negative stigmas around living with a mental health condition, they present the experience in a more positive, human way. And this is exactly what so many people living with various mental conditions need to propel them forward in their healing journeys. 

Cinema also taps into more than one sense at a time. Rather than just hearing it, you see it, and if you close your eyes and use your imagination, sometimes you can touch, taste, and smell it. Tapping into all of these senses makes it more likely we’ll make a connection with the film and learn something from it. 

Moreover, as with the endless variety of movies, there are many different approaches to cinema therapy. So, it benefits patients of all backgrounds, experiences, and stages of life. 

For example, let’s say a person is struggling with mental wellness in their golden years. Their mental health goal may be to stop isolating and learn to cope with stress better. Watching films with friends or in a therapeutic setting can help. 

They can see someone they resonate with struggling with the same challenges they do and how this character was able to work through them. And that, in turn, hopefully, inspires the patient to adopt some of the practices the character did to improve their mental health and well-being. 

The key to achieving results with cinema therapy is watching the right movies and working with a therapist who specializes in the discipline. However, just as important is a sensitivity to the storytelling in a given movie. 

How Storytelling in Films Aids Healing 

There’s some research out there that indicates people are more likely to remember facts or statistics when they’re presented in story form. 

Not only that, stories are more human and genuine. They’re easier for people to understand and see themselves in when told in an authentic, engaging way. 

This is especially important for healing because sometimes we can’t take ourselves out of the situation we’re in and see it from a different perspective. But we need to because doing so can fast-track healing. Instead of being so consumed by the pain or circumstance, you can see ways to healthily navigate the situation because you’ve stepped outside yourself. 

Storytelling is the foundation of good films. From the setting to the characters to the plot and the ending, everything is woven together into a story that people can grasp. If it’s the right story, in the right movie, for the right person, it can be a transformative experience that prompts growth and healing. 

Interested in Using Films in Your Healing? Start Here.

Whether you choose to go the self-help or formal therapy route by watching films for healing, write down some goals and thoughts you have about the process. 

For example, why do you think movie therapy is a good choice for you? What do you want to get out of watching movies for healing? Where do you want to be at the end of the process? 

If you want to enter into formal cinema therapy, research therapists with this specialty in your area. Give some a call and find out exactly what they can do for you and the costs and time commitment required. When you think you’ve found the right one, schedule your first appointment. 

If you want to start with the self-help approach, research movies that can help you learn the lessons or reach the goals you’re trying to reach. Compile a decent-sized list. When you watch the movies, do so intently. Take notes if that suits you. 

The goal is to get what you need in your healing journey through movies, no matter the pathway you choose. 

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Why do you watch movies? For many,

An unmarried couple have been publicly whipped 21 times each for breaking Sharia law in Indonesia‘s Aceh district after they were caught making out in a parked car.

The couple were found in the Ule Lee Harbor area of Banda Aceh City, on the island of Sumatra, according to Sindo News.

The public whipping took place at the Bustanul Salatin complex on Wednesday afternoon.

The woman, RO, 23, and the man, M, 24, who were described as a non-muhrim couple, were given 21 lashes with a rattan cane, reduced from 25.

Images show a police officer speaking on a microphone to those watching the act while others take photographs. 

An Acehnese woman receives a caning punishment of 21 lashes for breaking the Sharia law in Banda Aceh, Indonesia, on June 7, 2023

An Acehnese woman receives 21 lashes with a rattan cane as an officer details proceedings over a microphone, in Banda Aceh, Indonesia, on June 7, 2023

An Acehnese woman receives 21 lashes with a rattan cane as an officer details proceedings over a microphone, in Banda Aceh, Indonesia, on June 7, 2023 

The executioner, or Algojo, is seen covered from head to toe in a brown cloak-like costume with two eye holes covered by a white mask.

The woman and man are pictured being individually led to a room before being punished.

While being caned on a blue carpet, the woman, who is wearing a white burka, appears to slump forward towards the floor in agony.

‘The two of them violated Article 25 paragraph (1) of Qanun Aceh Number 6 of 2014 concerning the Jinayat Law, namely the act of conscientiousness,’ said Head of Criminal Investigation Section of the Banda Aceh Prosecutor’s Office, Isnawati, in Banda Aceh.

The car was found parked and swaying, according to Aceh media outlet Bithe.

After checking the vehicle, the officer found the couple making out.

Until now, RO had been detained at the Lhoknga prison, in Aceh Besar and M had been detained at the Kajhu detention center, Isna said.

A woman is caned by the executioner, or Algojo, who is covered from head to toe in a brown cloak-like costume, on June 7, 2023

A woman is caned by the executioner, or Algojo, who is covered from head to toe in a brown cloak-like costume, on June 7, 2023

A woman kneels in agony after she has been caned as punishment for being caught in close proximity with a man in Banda Aceh City, Indonesia

A woman kneels in agony after she has been caned as punishment for being caught in close proximity with a man in Banda Aceh City, Indonesia

An Acehnese woman is escorted as part of a caning punishment of up to 25 lashes for breaking the Sharia law in Banda Aceh, Indonesia, on June 7, 2023

An Acehnese woman is escorted as part of a caning punishment of up to 25 lashes for breaking the Sharia law in Banda Aceh, Indonesia, on June 7, 2023

Indonesia has the world’s largest Muslim population. 

Aceh is the only one of the nation’s 34 provinces that can legally adopt bylaws derived from Sharia. 

The province follows religious law as part of a 2005 autonomy deal agreed with the central government that ended a decades-long separatist insurgency. 

Public whipping remains a common punishment for scores of offenders for a range of charges including gambling, adultery, drinking alcohol, and having gay or pre-marital sex. 

The ‘close proximity’ law makes association by unmarried individuals of the opposite sex a criminal offense in some circumstances.

Aceh’s Sharia police have interpreted the broadly worded Sharia-inspired adultery law to prohibit merely sitting and talking in a ‘quiet’ space with a member of the opposite sex to whom one is not married or related – even without any evidence of intimacy, according to Human Rights Watch. 

The controversial punishment enrages rights activists and generates heated debate in the media and amongst politicians. 

Members of the Sharia police, including one carrying a rifle, escort a woman to be caned as punishment for being caught in close proximity with a man in Banda Aceh on June 7, 202

Members of the Sharia police, including one carrying a rifle, escort a woman to be caned as punishment for being caught in close proximity with a man in Banda Aceh on June 7, 202

Members of the Sharia police escort a man to be caned as punishment for being caught in close proximity with a woman in Banda Aceh on June 7, 2023

Members of the Sharia police escort a man to be caned as punishment for being caught in close proximity with a woman in Banda Aceh on June 7, 2023

A man looks on as he receives his caning punishment in the Bustanul Salatin complex on June 7, 2023

A man looks on as he receives his caning punishment in the Bustanul Salatin complex on June 7, 2023

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An unmarried couple have been publicly whipped

The Writers guild picket lines are on hold in New York.

The WGA East said late Tuesday night that all picket lines for Wednesday had been canceled due to the hazardous air blanketing the New York City metro area, “out of an abundance of caution.”

The decline in air quality is caused by wildfire smoke from Canada drifting down to the east coast of the U.S. The National Weather Service as well as government officials for New York City and other local areas are urging residents to stay indoors as much as possible and to reduce strenuous outdoor activities (and walking in a picket line for hours would qualify).

It is not yet clear when the smoky air will be pushed out of the region. If the hazardous air lingers, picket lines could be further suspended.

The WGA East picket lines have been a mix of high-profile public events outside of corporate offices (John Leguizamo, Busy Phillips and Mark Ruffalo appeared at a picket outside of NBCUniversal’s New York headquarters last month), as well as smaller more strategic picket lines meant to disrupt film and TV productions.

Warren Leight, the veteran Law & Order: SVU showrunner has taken the lead in organizing pickets across New York City and its surrounding suburbs, seeking to shut them down as Teamsters and other staff refuse to cross the pickets. The actions are a “pretty powerful thing,” he told The Hollywood Reporter.

Indeed, network executives have conceded that the strategic picket lines have been “effective.”

If the picket lines remain suspended, it could give some productions (at least the ones that shoot indoors) time to continue shooting.

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The Writers guild picket lines are on

America’s favorite family is back — and with even more horseplay this time around.

“Duck Family Treasure,” which features members of the beloved “Duck Dynasty” Robertson family, will return for its sophomore season on June 11 on streamer Fox Nation as the family deepens their search for undiscovered riches alongside Jase and Jep Robertson’s Uncle Si and treasure hunter Murry Crowe. One of the new episodes will also debut on Fox News Channel at 10 p.m. on the same day.

In an exclusive clip shared with TheWrap, Murray, Jase and Jep Robertson make their way to a llama farm, which throws the men completely out of their element.

As Murray drives the crew to their next destination — which appears to have a pack of llamas — Jase is immediately puzzled by the creatures when he exclaims, “they got a bunch of camels.”

“They got baby camels,” he says confidently, while Murray points out the obvious, saying, “I don’t think those are camels, guys.”

“Are they dangerous?” Jase asks, which leaves Murray stumped as he responds, “I don’t know.”

At the farm, the llamas’ eyes are stirring up some suspicion as Jase notes, “They got big eyes, don’t they?”

“Reach ahold to them, Murray,” Jase tells the treasure hunter, whose pet quickly disrupts the llamas. Naturally, when asked what touching them feels like, Murray responds “death.”

While Jeb withheld his fear in front of his family, he admits his anxiety surrounding the creatures in a private confession.

“Honestly, I’m kinda scared,” Jeb says in his confessional. “I don’t like animals [if] I don’t know what they are … I like to identify and then know if I should run, or shoot or whatever.”

You can watch the full clip above.

“Duck Family Treasure” Season 2 debuts June 11 on streaming platform Fox Nation. Fox News Channel will air an episode from the reality series’ new season at 10 p.m. on June 11.

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America’s favorite family is back — and

EXCLUSIVE: Subscription streaming outlet MHz Choice, which brings prestige international television to North American viewers, has set its summer slate with the U.S./Canada premieres of 15 series and nine returning shows. Included among them are French period mystery Agatha Christie’s Criminal Games: The ‘70s and Don’t Leave Me, an Italian police drama from the creators of Gomorra.

France Television’s Criminal Games debuts on the service June 13. The 10-part series adapts Agatha Christie’s mysteries in the 1970s and is led by three intrepid investigators. Emilie Gavois-Kahn (Spiral, Le Code, Coco Before Chanel, Swimming Pool), Arthur Dupont (Alice Nevers, Bus Palladium) and Chloé Chaudoye (Marie and the Misfits, Profilage) star. Creator is Thierry Debroux.

On August 15, Federation Entertainment’s Don’t Leave Me will bring Deputy Chief Elena Zonin (Vittoria Puccini) back to her hometown of Venice to hunt down a network of kidnappers. There, she’s confronted by the growing case along with a past love triangle she left behind 20 years ago. Gomorra’s Leonardo Fasoli created the series with Maddalena Ravagli. Gomorra’s Ciro Visco directs.

Also due this summer is Murder In…, an anthology that’s part crime series, part travelogue, taking audiences to sites and regions around France with each of the nine episodes featuring a mystery to be solved. This 10th season is set in Amboise, Biot, Frioul Island, Haute Provence, Kermadec, Marie-Galante, Mont Saint-Michel, Porquerolles and Rochefort Sur Mer. MHz Choice’s launch date is July 4. Film & Picture distributes.

From MultiChoice, South African series Lioness debuts on August 1. The logline reads: A woman loses her children, her lover and her freedom when she is framed for fraud committed by her husband before his death. Shannon Esra (Legacy, The River), Evan Hengst (Resident Evil, The Mauritanian), Jazzara Jaslyn (Warrior, Professionals), Joshua Eady (The Kissing Booth), Terrence Ngwila (The Wife) and Ilana Cilliers (Binnelanders) lead the cast.

About Premium Content’s six-episode Preppers, from Australia, and also bowing on August 1, follows Charlie (Nakkiah Lui), a young Aboriginal woman who, after suffering her own personal cataclysmic event, finds herself at the center of Eden 2, a community of doomsday ‘preppers’ planning for the apocalypse. Lui (The Great) and Gabriel Dowrick (Terminus, Colt 13) created the series.

Other new series hitting MHz Choice this summer include Wake Up My Love (Italy), Enemy of the People (Finland), Tatort: Vienna (Austria) and Crime is Her Game (France). Returning shows include Inspector Rex (Austria), Maigret (UK), Captain Marleau (France) and Alice Nevers (France).

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EXCLUSIVE: Subscription streaming outlet MHz Choice, which

15 Movie Scenes And Stunts That Proves CGI Has Nothing On Practical Effects

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15 Movie Scenes And Stunts That Proves

Prince Harry has returned to London’s High Court for his second day of testimony in his case against British tabloid publisher Mirror Group Newspapers (MGN), which publishes The Mirror, The Sunday Mirror and The People. He has accused the newspapers of “unlawfully” gathering information about him and those around him.

Prince Harry told the court via his witness statement he had been “livid” over photographs that appeared in The People in 2009 of him with former “Love Island” host Caroline Flack. Returning to the witness box on Wednesday, the prince said that of the 35 articles over which he is suing MGN, the Flack article was the only one he remembered reading at the time it was actually published. (The other 34 articles he says he first saw when he went through them with his legal team).

In the witness box, Harry said he’d been “stalked” by photo agency Ikon for over a decade and described a paparazzi ambush while he was with Flack outside his friend Mark Dyer’s house. Harry called the photographers’ presence “disturbing” given it was a private meeting between friends. “This evening was strictly between myself, Caroline – who is no longer with us – and Mark Dyer,” Harry said, referring to the fact that Flack died by suicide in 2020 while awaiting trial over assault charges.

The prince also said he had felt “hurt” over a tabloid headline implying the newspaper’s joy over news had broken up with former girlfriend Chelsy Davy. Discussing a 2007 article from The Mirror titled “Hooray Harry’s Dumped,” the prince said the headline demonstrated that “people are celebrating I’ve broken up with my girlfriend, which seems a little bit mean.” A discussion then ensued between Harry and the tabloid’s lawyer, Andrew Green KC, about the meaning of the headline. Green, who is representing Mirror Group Newspapers (MGN), which publishes The Mirror, The Sunday Mirror and The People, said it was a reference to a line in the article referencing the prince’s “hooray lifestyle” rather than celebrating the “demise of the relationship.” Harry disagreed, replying: “It’s hurtful.”

Harry, who is also known as the Duke of Sussex, made history yesterday as the first British royal to appear in the witness box in 130 years.

During his day and a half of testimony – which included examination by his own lawyer, David Sherborne KC, followed by cross-examination Green – the prince gave evidence in relation to over a dozen articles he claims were based on “unlawfully” gathered information.

However, during Green’s cross-examination on Tuesday, the lawyer repeatedly pointed out that almost all of the articles that Harry claims used illicitly-gathered information were based on statements from the royal press office or rehashed from earlier articles published in other outlets. In one instance, Green pointed out that an article published in The Mirror under the headline “No Eton trifles for Harry, 18,” in which it detailed his birthday plans, had mostly been lifted from an interview the Prince had given to the Press Association.

In his witness statement and on the stand, Harry claimed the occasion of his 18th birthday “incentivized” reporters to listen in to his private voicemails, although he could not offer any proof that they had done so or point out what private information from the article had been unlawfully obtained.

Harry also claimed that a story about his broken thumb dating back to 2000 could have been obtained by hacking his doctor’s phone despite being shown evidence the story had originated from a Buckingham Palace spokesperson. “Are we not, Prince Harry, in the realms of total speculation,” Green put to the royal, who replied stubbornly “Ask the journalist [who wrote the story].”

Green also pointed out discrepancies between Harry’s memoir “Spare,” which was published in January, and the prince’s witness statement, including conflicting accounts of whether or not he had wanted to confront his mother Princess Diana’s former butler, Paul Burrell, after the servant sold off a number of the princess’s possessions following her death. According to “Spare,” Harry was longing to confront the butler while in his witness statement the prince said “I was firmly against meeting him.”

The distinction is relevant because of a Mirror article that reported Harry and his brother William disagreeing on whether to meet with Burrell. Harry claims the 2003 article, which quotes Harry calling the butler a “two-faced shit,” was based on hacked voicemails. “This is the kind of article seeds distrust between brothers,” Harry said in the witness box, a nod to his now public feud with William.

Asked whether the articles had caused Harry “distress,” the prince replied: “They all caused distress, I was a teenager at the time. Every element of it was distressing.”

At one point, Green paused his questioning to say: “Everybody has enormous sympathy with the extraordinary degree of press intrusion you have suffered in your life [but] it doesn’t follow from that it was a result of unlawful activity.”

Among the nefarious techniques Harry accuses MGN’s newspapers – which include The Mirror, The Daily Mirror and The People – of using are “phone hacking,” meaning unlawfully accessing voicemail inboxes by guessing the passwords, and “blagging,” which involves obtaining confidential information (such as travel itineraries or medical records) by impersonation or bribery. MGN denies the claims save for one instance, for which it apologized at the beginning of the trial.

Harry is joined in his claim by a number of other individuals, including “Coronation Street” actors Nikki Sanderson and Michael Turner and Fiona Wightman the ex-wife of comedian Paul Whitehouse.

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Prince Harry has returned to London’s High

Guardians of the Galaxy Vol. 3 director James Gunn set the record straight on when the threequel will receive its digital release.

The much-talked-about MCU flick delivered a worthy swan song to the original iteration of Star-Lord’s cosmic heroes. As a result, Guardians 3 earned high praise from fans and critics, with the movie even receiving a historic opening weekend at the box office. 

Although the movie is still in theaters, some already speculated when Guardians of the Galaxy 3 will premiere on Disney+ and other major digital platforms. 

James Gunn Gets Honest About Guardians 3’s Online Release 

Marvel

In a post on Bluesky Social, Guardians of the Galaxy Vol. 3 director James Gunn responded to a fan asking if there is a VOD (video-on-demand) release date yet for the MCU threequel. 

Gunn confirmed that there is no digital release date yet for Guardians of the Galaxy 3 since the movie is “doing so well in theaters” weekly. 

The writer-director also pointed out that its online release “might be a little bit” down the line: 

Q: “Is there a VOD date yet? I’ve got a toddler and haven’t been able to get to a theater in years. Actually I’ll just google, good talk, see ya out there.”

Gunn: “There is not. We’ve been doing so well in theaters week after week it might be a little bit.”

When Will Guardians 3 Release on Digital Platforms?

It remains to be seen when Guardians of the Galaxy Vol. 3 will premiere on VOD, but the online release dates of previous MCU films could hint at when it will be released:

The last three MCU movies (Thor 4, Black Panther 2, and Ant-Man 3) were released in the 60-62 day range (two months) after their theatrical premiere. 

It’s possible that Guardians 3 could also premiere around the same timeframe. However, James Gunn’s comment about the threequel’s consistent performance at the box office may indicate that its VOD release will be longer than that

In fact, Guardians 3 had a historic second-weekend domestic box office gross drop of only 48.9%, earning $60.5 million after a $118.4 million opening at the start of May.

With all that said, fans can expect Guardians of the Galaxy Vol. 3 to be released on digital platforms in later July or in early August. 

Guardians of the Galaxy Vol. 3 is still playing in theaters worldwide. 

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Katee Sackhoff explained why she didn’t return in The Flash‘s final season on The CW.

The Flash Season 9 featured many Arrowverse comebacks, such as Stephen Amell’s Oliver Queen, Nicole Maines’ Dreamer, and Rick Cosnett’s Eddie Thawne. 

However, there are still notable characters who didn’t make an appearance in the Arrowverse’s swan song, and one of them is Katee Sackhoff’s Amunet Black. 

Katee Sackhoff Reacts to The Flash Season 9 Absence 

The CW

Speaking as a guest on The Playlist podcast, Katee Sackhoff explained why she was “really disappointed” that she didn’t return as Amunet Black in The Flash Season 9. 

Sackhoff portrayed the recurring villain, Leslie Jocoy aka Amunet Black, in The Flash since Season 4, but the Arrowverse character didn’t come back in the final season. 

In the show, Amunet Black had the ability to utilize magnetism to her advantage. 

Sackhoff pointed out that The Flash creative team didn’t want her to return for the final season, noting that “someone over there didn’t like [her] that much:”

“You know what – a lot of people love that character in ‘The Flash.’ I was really disappointed that I didn’t get to go back and actually reprise that role. Obviously, someone over there didn’t like me that much, because I did everything short of get down on bended knee. So, they did not want my character back again. So, I tried!”

When the podcast host said that other cast members would’ve tried to come back to the series as well, Sackhoff agreed before acknowledging that the show has some huge shoes to fill when it came to wrapping up many storylines: 

DeAngelo: “What a bummer. I’m sure everyone that was involved in the show was trying to come back as well.”

Sackhoff: “Oh, I’m sure. There’s just so many seasons and so many characters to wrap up that I think that you gotta be discerning in what the story’s gonna be moving forward, for sure.”

Interestingly, Amunet Black’s lover, Goldface, made a surprise return in The Flash Season 9, helping Grant Gustin’s Scarlet Speedster against Red Death. 

Predicting Amunet Black’s Role if She Returned in Season 9

It was unfortunate that Katee Sackhoff didn’t return as Amunet Black in The Flash Season 9, considering the positive reception of fans and critics toward the actress’ performance as the Arrowverse villain.

It would’ve been fascinating to see Amunet Black’s comeback alongside Goldface in Season 9. The pair had unmatched chemistry during their time on the series, and seeing it again one last time would be quite fitting in The Flash’s final run. 

If Amunet Black returned in The Flash Season 9, it’s possible that she could be one of the villains recruited by Barry Allen in the fight against Red Death aka evil Batwoman. 

Despite not making a comeback, The Flash still managed to honor Amunet Black by featuring a reference to the villain when Goldface said that he betrayed Sackhoff’s character which led to his escape. 

The Flash Season 9 is streaming on The CW app. 

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Nintendo Switch was the best-selling console in the UK in May, boosted by the launch of The Legend of Zelda: Tears of the Kingdom.

According to GfK data published on GamesIndustry.biz, Switch sales were actually down 5% compared to April, when the special edition Zelda Switch OLED console launched, but were up 28% over May 2022.

The Zelda OLED console accounted for almost 35% of all Switch sales in May, helping Nintendo’s console end PS5‘s four-month run as the UK’s top console.

PS5 sales were down 23% compared to April, with May being the first time this year that sales of Sony’s console fell below what they were during the same period in 2022.

Xbox Series X/S sales declined 10% month-over-month and were also down year-over-year.

Year to date console sales are up 16.6%, with PS5 sales up 81%, Switch sales down 8% and Xbox Series X/S sales down 19%.

On the software front, Zelda: Tears of the Kingdom was May’s No.1 game based on physical sales alone (Nintendo is currently the only major games company that doesn’t share digital sales data).

Tears of the Kingdom is already the UK’s third best-selling boxed Zelda game of all time, trailing only 2017’s Breath of the Wild and 2006’s Twilight Princess.

Hogwarts Legacy was at No.2 on the monthly software chart following its PS4 and Xbox One release in May, while Lego 2K Drive entered at No.19.