The director and producer of 2022 Pixar flop Lightyear have both been laid off at Disney. According to Reuters, director Angus MacLane and producer Galyn Susman, veteran Pixar employees who’d been with the company since the Toy Story and A Bug’s Life days of the 1990s, were among 75 employees cut from Pixar in recent weeks, as Disney engages in staff reductions across the board.
It’s been nearly a decade since Pixar last got hit with staff reductions like this, also in the wake of a major flop—although 2015’s The Good Dinosauractually did a bit better at the box office than Lightyear, which made $226 million at the box office off of a $200 million budget, i.e., bupkis.
Disney is in a brutal cost-cutting phase at the moment; the company also announced that it’s taking a $1.5 billion impairment charge to try to improve its fiscal standing—which is a fancy way of saying they kicked a huge amount of content off of Disney+ so they wouldn’t have to count it as an asset they’d have to pay taxes on. The cuts were handed down back on May 23, as part of a $5.5 billion cost-reduction effort by CEO Bob Iger.
Following up his short Roadkill, writer-director Justin T. Malone’s Beware of Goat is an incisive and joyously sardonic look at rural life in the American South. It is a remarkably canny film with well-defined characters and as much escalating tension surrounding a single goat as could be hoped for.
The film wastes no time establishing its stakes by introducing two families, neighbors, midway through a long-simmering war of wits and words. The screenplay also wastes no time revealing its intelligence, as each character is presented in a situation that defines them. Not only is this a shrewd way to affirm the foundation of the tension, but it also subtly demarcates the prison that all these people find themselves in. Without ever saying it, this is a gentle but no less forceful consideration of poverty in rural areas and the factionalism accompanying it.
“…two families, neighbors, midway through a long-simmering war…”
The only drawback to the success of the set-up is the manner in which it concludes. The film’s structure mirrors a dialogue, with one family’s growing animosity answered by the other’s. Unfortunately, however, the finale cuts that conversation unceremoniously short, leaving the audience and the narrative wanting for some greater revelation.
Still, it is hard to censure Beware of Goat when considering all that it does well. It is a specifically undaunted portrait of Southern rural life and features some of the best acting one can find in an independent film. Add a streak of black humor to that formula, and the result is a thoughtful and totally entertaining experience.
B-boys and B-girls from 30 different countries across the world are in Montreal this weekend to battle it out for a chance to compete in the 2024 Paris Olympics.
Samuel Mass Cyr from Quebec is one of them.
“I started dancing 15 years ago when I was 12 years and now I’m competing around the world and I’m stoked, I’m happy!” Mass Cyr said.
Breaking, or breakdancing, will make its debut as an Olympic sport in Paris next August.
The Montreal qualifier event is the biggest Canada has ever hosted and the only one in North America.
Breakdancing set to turn heads as new Olympic sport
Berenice Dupuis sees the event as an opportunity for more girls to step into the sport.
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She’s been breaking for the past 20 years – breakdancing as well as breaking barriers.
“It was very difficult at the beginning even to participate in the battles because it was mostly crews of men,” said Dupuis, who is also known as B-Nice.
At the competition, B-boys and B-girls are battling it out side by side as equals.
It was only natural for Montreal to play host.
Breaking got its start in the 1970s in the Bronx and Montreal’s proximity to the American city facilitated exposure and ultimately, crowned Montreal as Canada’s hub for breaking, developing its own style.
“Canadian style is very dynamic, very creative and I would say very artistic,” said Taiyo Seo, a coach for Team Canada.
Throughout the years, the stages have evolved. What started out on the streets will soon blast onto the biggest sports stage in the world: the Olympics.
The 2024 Paris Summer Olympics will be hosting breaking as an official sport for the first time.
Dvir Rozen travelled from Israel to judge the Montreal competition. He has been a B-boy for 25 years.
“Now, a dancer, a B-girl a B-boy, can bring to their country a gold medal, this is unbelievable,” Rozen says.
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More than landing a spot on the Olympic team, both Dupuis and Cyr say they are eager for the chance to show off Canadian talent and to attract more B-boys and B-girls to the growing crew.
“It can be a good exposure for my art and my discipline. I think it can be good for people to see it, for new kids to get into,” said Cyr. “The more we are dancing, the more fun we’re going to have.”
The qualifiers will continue at Place des Arts until Sunday.
It’s showtime! Well, maybe not quite yet, but “Beetlejuice 2” is coming, and star Michael Keaton gave some preliminary insights into the care Tim Burton and the rest of the film’s creators are taking to ensure it feels just like the 1988 classic.
“Beetlejuice is the most f–kin’ fun you can have working,” Keaton told Empire Saturday. “It’s so fun, it’s so great. And you know what it is? We’re doing it exactly like we did the first movie. There’s a woman in the great waiting room for the afterlife literally with a fishing line — I want people to know this because I love it — tugging on the tail of a cat to make it move.”
The sequel, directed by Burton, is scheduled for release Sept, 6, 2024, with Keaton and Winona Ryder set to return. Joining them is newcomer Jenna Ortega, who worked with Burton on “Wednesday.” The creators of the Netflix “Addams Family” series, Alfred Gough and Miles Millar, are penning the screenplay for “Beetlejuice 2.”
Keaton is no stranger to revisiting old characters (he’s about to star as Batman once again in “The Flash,” if you hadn’t heard), and he made clear that when he does return to classic films, he wants them to be true to their predecessors.
“[Burton] and I were talking about it years and years ago, never telling anybody,” Keaton said to Empire. “We both agreed, if it happens, it has to be done as close to the way we made it the first time. Making stuff up, making stuff happen, improvising and riffing, but literally handmade stuff, like people creating things with their hands and building something. F–kin’ great. It’s the most fun I’ve had working on a movie in — I can’t tell you how long.”
Will the next James Bond be played by an actor of color? That debate on Chris Cuomo’s NewsNation show “Cuomo” Friday went completely off the rails when The Nation’s Elie Mystal went head to head with conservative commentator Scottie Nell Hughes.
Cuomo had pulled the duo who are on opposites of the political spectrum together to discuss a new report from Britain’s News Channel that, according to an industry insider, “the next James Bond won’t be white.” Ariel in the Disney remake “The Little Mermaid” was also mentioned as a white character who had been recast as nonwhite.
“And I thought that was a little bit more of an odd fit,” Cuomo went on. “But if you were going to play to the global palette, wouldn’t he, and if it’s for America, wouldn’t he be Latino? And if it’s for the world market, wouldn’t he probably come from Bollywood? I mean, why is there this expectation that he has to be a Black actor?”
“I don’t think there’s an expectation that he has to be a Black actor. The idea is that he has been White for six iterations and there is no problem in opening it up to other people,” Mystal responded. “The idea that you’ve just suggested that anybody who plays him is doomed to fail either tells me that you have not watched the Timothy Dalton James Bonds or that you did not watch ‘No Time to Die,’ the last James Bond, which was horrible, or you have not watched the amazing performances given by people like Regé-Jean Page…He has perfect diction. Like what? The idea that anybody Black is doomed to fail is the definition of why it’s about time somebody Black was James Bond. Just to prove you wrong.”
Hughes jumped in: “You’re totally misrepresenting what I said. I didn’t say anybody Black. I said anybody! And I’m an originalist. I like Sean Connery. I said, anybody. And we are only talking about Black characters. We’re not talking about any of the other actors to take this place. And every character that’s been replaced has been Black. So there’s a reason why people are saying that it’s going to be a Black person that is going to replace him.”
And that’s when the back-and-forth spat began, as the volumes went up and they started to talk over each other to drive home their points.
“Every character who has been replaced, has been Black like in global history?” Mystal said.
“Have you seen a Hispanic replace a White person in one of the recent films?” Hughes asked.
She answered, “What recent film are you talking about? Of course, we have so much more opportunities given to Hispanic actors. We’ve seen more opportunities given to. But once the I just saw Kenobi, which had one of its key persons be an AAPI actor like this is happening…”
Hughes cut her off. “But this is the placement of old original characters on diversity. It’s not diverse. It’s only one sector that is getting it…”
“Is the argument that there aren’t enough opportunities for White people in Hollywood?” Mystal asked pointedly. “Is that what you’re going with?”
Seeing that this debate was going downhill fast, Cuomo tried to calm them and finally decided to end it altogether. “I appreciate the points on both sides,” he said. “You’ve given plenty for the audience to chew on and let’s let them do that.”
Ana Vaz’s debut feature is a work of nocturnal ethnography — a documentary that invites us into a thicket of sound and darkling images so we may emerge with a fresh understanding of the world around us. “It Is Night in America” captures Brasília, Vaz’s hometown in Brazil, through two layers of obfuscation. The film is shot on grainy, expired 16-millimeter film stock, and with a blue tint that turns even daytime scenes into something out of a twilight zone. The camera’s subjects are the wildlife of the city — owls, capybaras, snakes, foxes and more — seen in the Brasília zoo and on the streets; the soundtrack is a viscous fog of ambient noise — crickets, wind, vehicle horns — interspersed with recordings of phone calls to forest officers to report sightings of animals. These dreamlike visions all accumulate into a parable about aggressive urbanization in the name of progress. What happens when our faunal kin are made invaders in their own homes? Vaz suggests that we learn to look not just ahead but also sideways, at the things that take refuge in the shadows, in the background and in the night.
This supremely clever feature by the Quebecois director Denis Côté wrings great comedy from a simple dissonance. On a grassy field in an unidentified locale, a petty thief, Antonin (Maxim Gaudette), is berated by a series of women — his sister, his wife, his mistress, a tax collector — in long, staged vignettes. The characters speak in dramatic, declamatory French, as if in a 19th-century play, and their costumes range from corseted dresses and shabby tailcoats to power suits and leather jackets. Yet the content of their conversations is contemporary and drably banal, dotted with references to Facebook, Volkswagens and discount mattresses.
Full of great quips (“I have so many debts, it’s like I have friends”), “Social Hygiene” milks these arch incongruities for an extended gag about the chasms between art and life. Though Antonin fashions himself as a tormented literary protagonist — a scrupled thief and a thwarted artist — he emerges as little more than a posturing, self-pitying millennial unwilling to take charge of his life. An air of phoniness looms over the characters, who appear like marionettes in Coté’s cool, distant tableaux. When we finally see them up-close, their faces fill the screen, but they seem even smaller — regular folks playing at being heroes and victims.
This gutting Kosovan film opens with a scene straight from the horror textbook: While leading a cow through the woods, Lume (Adriana Matoshi), a young, married woman living on a farm in the countryside, stumbles suddenly upon a bloodied bovine skull. As “Zana” unfolds, however, its genre stylings — austere visuals, blurred lines between nightmares and reality, pastoral gore and folklore — give way to the real historical terror pulsating underneath.
Lume, we learn, lost her 4-year-old daughter in the Kosovo War, which resulted in thousands of civilian casualties. She has been unable to conceive since, much to the chagrin of her mother-in-law, who drags her to healers and doctors, and threatens to find Lume’s husband a second wife. The director Antoneta Kastrati lost her own mother and sister in the war, and here she crafts a remarkable portrait of a community struggling to process unimaginable trauma. Lume’s crippling grief is dismissed as demonic possession by her in-laws and parents, who displace their own sense of loss into the desperate desire for a new generation. Matoshi turns in a formidable performance as a woman who has no words for the pain she so acutely feels, bearing the brunt of not just her own anguish, but everyone else’s, too.
In 2005, the ITAS machine parts factory in Croatia became the site for a monumental event. For decades, the institution had been state-funded but worker-managed, with employees owning shares and governing themselves democratically. When efforts were made to privatize the factory, the staff took over and insisted on continuing a system of joint and equitable ownership, in what became the first successful occupation of a European factory by its workers.
In the documentary “Factory to the Workers,” the director Srdjan Kovacevic visits ITAS 10 years after the takeover to capture its inner workings and outward challenges in a new, ruthlessly capitalist Europe. Assembling footage shot within the factory across five years, Kovacevic crafts a remarkable, fly-on-the-wall portrait of the workers’ labor, relationships and self-fashioned bureaucracy. Competition from corporations has shrunk the factory’s revenue, resulting in a vicious cycle of delayed salaries and lower morale, and culminating in a tumultuous leadership change. Unfolding like a thriller, the film is both cynical and galvanizing with its striking reminder that it takes a crowd — or rather, a collective — to make any kind of dent in this world.
This Argentine drama might seem, at first glance, to be another entry in a hackneyed, often misguided genre: films about fish-out-of-water teachers trying to make a difference in inner-city schools. But “The Substitute,” directed by Diego Lerman, adds new dimensions to a cinematic cliché.
Lucio (Juan Minujín), a prestigious novelist subbing as a literature teacher at a local school, is indeed miles apart in life circumstances from his teenage students. They are embroiled in the violent intrigues of drug lords and corrupt politicians; his main concern, on the other hand, is to get his 12-year-old daughter, who is dealing poorly with her parents’ divorce, into a fancy school.
But “The Substitute,” crucially, is not about Lucio’s pedagogic brilliance or the transformative power of books; the scenes of him lecturing in class are almost comically uninspired. Rather, Lucio slowly realizes that his real contribution to his students is in being an ally to them in life rather than in school — which means getting his hands dirty in ways he’s always sought to avoid. With a sensitive lead turn by Minujín, “The Substitute” remains elusive and prickly all the way through, mimicking the messiness of reality more so than the neat arcs of stories.
17 Easter Eggs And Foreshadowing Examples In Films
Making a movie is all about the details, even if we don’t always notice them the first time around. But it’s these bits of foreshadowing, Easter eggs, and world-building that really show the writers were paying attention.
So here are 17 fun and fascinating movie details:
1.
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
2.
Pulp Fiction – Kill Bill
9.
Harry Potter and the Goblet of Fire
10.
The Shawshank Redemption
11.
The Lord of the Rings
12.
Guardians of the Galaxy
14.
John Wick & John Wick 2
There are LOADS more fun details in movies, share your favourites in the comments below!
If you’re going to make a Barbie movie, make it pink — very pink — so pink that it will wipe out an entire company’s global supply of pink paint.
That’s exactly what happened during production of the new Warner Bros. “Barbie” film, according to the company that supplied set designers.
“They used as much paint as we had,” Lauren Proud — vice president of global marketing at Rosco, which is known for its deep ties with Hollywood’s film and television industries — said Friday in an interview with The Times.
She was referring specifically to its supply of fluorescent pink paint, which was used for creating the sets for the film’s Barbieland.
The film’s production designer, Sarah Greenwood, spoke to Architectural Digest earlier this week about the immense amounts of pink that were required for the set. During the interview Greenwood, a six-time Oscar nominee, claimed the film had caused an international shortage.
“The world ran out of pink,” she told the magazine.
However, Proud said it’s not that simple. During “Barbie’s” production in 2022, the COVID-19 pandemic was jamming the global supply chain on a host of products and goods, including Rosco’s paint.
The company was also still recovering from the deep freeze that blanketed Texas in early 2021 and damaged vital materials used to create the paint. In short, Rosco was already operating with less paint than it was used to.
“There was this shortage,” Proud said, “and then we gave them everything we could — I don’t know they can claim credit.”
Proud acknowledged, though, that, “They did clean us out on paint.”
Even so, there was just enough to continue production on the film, which was mostly shot at at Warner Bros. Studios Leavesden in the United Kingdom.
In the Architectural Digest interview, “Barbie” director Greta Gerwig said the pink paint was important in “maintaining the ‘kid-ness’” of the film’s aesthetic.
“I wanted the pinks to be very bright, and everything to be almost too much,” Gerwig said, emphasizing that she didn’t want to “forget what made me love Barbie when I was a little girl.”
Greenwood obliged, as evidenced in images seen in the film’s first full-length trailer, which reveal dollhouse-like mansions adorned with beds, a closet full of clothing accessories, stylish couches, dining tables, and a slide, all colored pink.
The cars that characters drive, the roads and the lamp posts that illuminate the way — all pink. The floors they dance on are, you guessed it, pink.
Although the film’s plot had been somewhat mysterious in the months leading up to its July 21 release, a recent trailer shows Margot Robbie’s Barbie and Ryan Gosling’s Ken on an adventure out of Barbieland and into “the real world.”
The trailer shows Will Ferrell as what appears to be the head of Mattel and the film’s principal villain. “Barbie” commands a star-studded cast that also includes Simu Liu, Dua Lipa, Helen Mirren, Issa Rae, America Ferrera, Kate McKinnon, Michael Cera, Ariana Greenblatt, Rhea Perlman, Ana Cruz Kayne, Emma Mackey, Hari Nef, Alexandra Shipp, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans, Jamie Demetriou, Connor Swindells, Sharon Rooney, Nicola Coughlan and Ritu Arya.
As the ongoing Writers Guild of America (WGA) strike nears its second month, three MCU projects have been shut down because of the job action, with the potential for more on the way.
After months of deliberation, the WGA finally declared that its members would take strike action starting on May 2 as the Guild seeks a new deal with Hollywood studios.
Despite the strike, some MCU titles march on, with titles like Captain America: New World Order and Deadpool 3 both remaining in production without the presence of writers.
The Strike Hits Three MCU Projects
Thus far, three Marvel Studios titles have been put on ice because of the Hollywood writers’ strike, halting production/pre-production and shutting down work on the titles for the red brand.
After the rocky road the project has seen with changing directors, new writers, and production delays, this break may honestly be the best thing for Blade, it just may mean the film does not ultimately hit that September 6, 2024 release date.
2.) Thunderbolts
Marvel
After initially being planned to film sometime this summer, Thunderbolts production was put on hold because of the WGA strike. The current plan is for cameras to start rolling immediately following the end of the ongoing labor dispute.
With no end in sight for the strike, which could push filming for the comic book team-up later into the year, or (on the extreme end of things) potentially even into 2024. However, with the script for the film finished, the Thunderbolts team should be able to hit the ground running once the strike is finished.
Cretton took to social media revealing the project was going to take a break until the strike was over, remarking that he will be “Marching with [his] tribe,” referencing that he will stand with his fellow writers in their decision to strike.
Spider-Man 4
Most recently, Tom Holland disclosed in early June that development on Marvel Studios and Sony Pictures’ fourth MCU Spider-Man film has been put “on pause in solidarity with the writers.”Spider-Man 4’s script development is still in its early days, so, unlike the projects listed above, the strike’s impact on Spider-Man 4 doesn’t have an immediate impact on any physical production preparation.
What Else at Marvel Studios Could the Strike Impact?
Right now, there are only three MCU productions that have been completely shut down because of the ongoing writers’ strike, but that is not to say they will be the only ones.
Of course, those titles that are currently filming like Captain America 4 will feel the effects of not having writers on set. While audiences may never know the difference when they sit down in the theater to see the Star-Spangled blockbuster next year, surely, the cast and crew working on set have noticed the difference.
At the time of writing, the project most likely to have production halted that has not yet is Deadpool 3. One would think with cameras now officially rolling on the R-rated sequel it would be safe; however, that may not be the case.
This means that the film could get a few days or weeks into production and realize the herculean task of making a movie like Deadpool 3 without writers on the set, before ultimately revealing production has been put on hold.
Of course, at this point, it is hard to tell just how big an impact the WGA strike will have on the MCU and its upcoming slate. Progress on anything currently being written (ie Avengers: The Kang Dynasty, Fantastic Four, and Avengers: Secret Wars) should be slowed as writers are obligated to halt all union work.
The idea of solar energy being transmitted from space is not a new one. In 1968, a NASA engineer named Peter Glaser produced the first concept design for a solar-powered satellite. But only now, 55 years later, does it appear scientists have actually carried out a successful experiment. A team of researchers from Caltech announced on Thursday that their space-borne prototype, called the Space Solar Power Demonstrator (SSPD-1), had collected sunlight, converted it into electricity and beamed it to microwave receivers installed on a rooftop on Caltech’s Pasadena campus. The experiment also proves that the setup, which launched on January 3, is capable of surviving the trip to space, along with the harsh environment of space itself.
“To the best of our knowledge, no one has ever demonstrated wireless energy transfer in space even with expensive rigid structures. We are doing it with flexible lightweight structures and with our own integrated circuits. This is a first,” said Ali Hajimiri, professor of electrical engineering and medical engineering and co-director of Caltech’s Space Solar Power Project (SSPP), in a press release published on Thursday.
The experiment — known in full as Microwave Array for Power-transfer Low-orbit Experiment (or MAPLE for short) — is one of three research projects being carried out aboard the SSPD-1. The effort involved two separate receiver arrays and lightweight microwave transmitters with custom chips, according to Caltech. In its press release, the team added that the transmission setup was designed to minimize the amount of fuel needed to send them to space, and that the design also needed to be flexible enough so that the transmitters could be folded up onto a rocket.
Space-based solar power has long been something of a holy grail in the scientific community. Although expensive in its current form, the technology carries the promise of potentially unlimited renewable energy, with solar panels in space able to collect sunlight regardless of the time of day. The use of microwaves to transmit power would also mean that cloud cover wouldn’t pose an interference, as Nikkeinotes.
Caltech’s Space Solar Power Project (SSSP) is hardly the only team that has been attempting to make space-based solar power a reality. Late last month, a few days before Caltech’s announcement, Japan’s space agency, JAXA, announced a public-private partnership that aims to send solar power from space by 2025. The leader of that project, a Kyoto University professor, has been working on space-based solar power since 2009. Japan also had a breakthrough of its own nearly a decade ago in 2015, when JAXA scientists transmitted 1.8 kilowatts of power — about enough energy to power an electric kettle — more than 50 meters to a wireless receiver.
The Space Solar Power Project was founded back in 2011. In addition to MAPLE, the SSPD-1 is being used to assess what types of cells are the most effective in surviving the conditions of space. The third experiment is known as DOLCE (Deployable on-Orbit ultraLight Composite Experiment), a structure measuring six-by-six feet that “demonstrates the architecture, packaging scheme, and deployment mechanisms of the modular spacecraft,” according to Caltech. It has not yet been deployed.
We call it breaking in because it can feel like a heist.
I’ve been at this game for ten years and over that decade I feel like I’ve heard every single way people have achieved success. From rich parents to luck to bumping into someone who would later represent them, I’ve collected the stories and assembled them into things you can do that don’t involve as much luck as they do the legwork.
The film industry is notoriously difficult to penetrate. But if you have the passion, talent, and determination, there are multiple ways to break into Hollywood. Whether you’re an aspiring writer, director, or actor, this comprehensive guide will provide insights and advice on how you can kickstart your career as a filmmaker.
Here are the top ten ways to break into Hollywood, with detailed information on each route and valuable tips from industry insiders (and me).
Let’s dive in.
‘Power of the Dog’ director, Jane CampionCredit: Kirsty Griffin/Netflix
1. Gain Experience in Low-Level Productions
Start from the bottom and work your way up!
Find Opportunities in Student Projects and Low-Budget Films
One of the best ways to start in the film industry is to gain experience in low-level productions such as student-led projects or low-budget production companies. High-end TV and major film sets often require previous work experience, making low-level projects an excellent starting point for those lacking experience.
While these projects may not pay well, they provide valuable experience and networking opportunities.
Search for jobs on online application websites like Mandy and Backstage, join Facebook groups, or rely on word of mouth to find low-budget productions seeking assistance.
Some of my first jobs were just PA’ing commercials, but I made contacts who got me hired doing lots of other things along the way.
Be Prepared for Unglamorous Roles
I have gotten coffee for so many people. At one gig, I used to carry 17 coffees from the Starbucks at the bottom of the hill to LA Center Studios. The trick was using empty Amazon boxes to keep them steady.
When starting in the film industry, expect to work in unglamorous roles such as runners or production assistants. These roles may involve making tea and coffee, administrative work, or driving actors to set. Although these tasks may not be enjoyable, they are invaluable to production and serve as a great starting point for your career.
Learn from observing others on set and use these entry-level roles as a stepping stone to climb the ladder in the industry.
Plus, you never know when the people you work with will get promoted and take you with them.
Don’t try to be everything all at once. Focus on what you can do and for who. Build from there.
Find Your Area of Expertise
To break into Hollywood, it’s essential to specialize in a specific area within the film industry. Whether you’re interested in sound, lighting, post-production, writing, or directing, focus on developing your skills in a particular field.
This specialization will make it easier to find relevant jobs and projects, helping you stand out from the competition.
Can you be good at multiple things? Yes! But when breaking in, focus on one, and as you break down those doors, add others.
Again, this is advice, not rules!
Build Your Skill Set
Once you’ve identified your area of expertise, invest time in developing your skill set. Attend specialized courses, follow online tutorials, read books, and network with others in the industry. Continually improving your skills will increase your chances of finding work and growing your reputation within the industry.
Your reputation is everything. Protect it at all costs.
‘The Master’ behind the scenesCredit: The Weinstein Company
3. Network and Build Connections
Networking is the single most important way to break in. I cannot emphasize enough how much it will affect your career.
Attend Film Festivals and Industry Events
So how do you meet new people?
One of the most effective ways to break into the film industry is by networking. Attend film festivals, industry events, and workshops to meet other filmmakers, actors, producers, and agents. Building relationships with people in the industry can lead to job opportunities and collaborations.
The more people you meet, the more it pays off.
Utilize Social Media and Professional Platforms
We’re in the middle of a tech revolution, so why not use it to help yourself?
In addition to attending events, use social media and professional platforms like LinkedIn to connect with industry professionals. Reach out to individuals, share your work, and engage with others to build your network. Networking is crucial in the film industry, as many job opportunities arise through personal connections and recommendations.
Sundance FIlm Festival 2022 is going virtual once again. Credit: Arthur Mola/Invision/AP
4. Create a Portfolio or Showreel
I have a website, I know people who have reels on Vimeo, the point is, have your stuff available to check out.
Showcase Your Work and Skills
Building a portfolio or showreel is essential for showcasing your abilities and breaking into the film industry. Whether you’re a writer, director, cinematographer, or editor, ensure your portfolio highlights your area of expertise. Include previous work experience, independent projects, and any relevant achievements.
People want to see your work!
‘Dave’Credit: FX
5. Work on Other People’s Films
Collaboration is key to making your way through Hollywood. Helping others helps yourself.
Gain Valuable Experience and Connections
Even if your ultimate goal is to direct or produce your films, working on other people’s projects is an essential step in breaking into the industry. By being involved in various productions, you’ll gain valuable experience and build connections with talented crew members and like-minded individuals.
Plus, you can learn new techniques and new approaches from your friends.
Working on other people’s films allows you to observe different roles and processes within the industry. This hands-on experience will help you develop your skills and decide which area of filmmaking you’re most passionate about. Plus, being present on set increases your chances of being noticed and recommended for future opportunities.
6. Prepare for Long Hours and Sacrifices
Time in this industry is relative. It’s all about projects you finish. Get ready to put in the hours to hone your craft.
Expect Long Hours and Limited Personal Time
Breaking into the film industry often involves working long hours and sacrificing personal time. Be prepared for early mornings, late nights, and extended periods of work. Understand that a career in the film industry may require a different lifestyle than a traditional 9-to-5 job, and be ready to adapt.
You will work weekends. You will work long days. Hopefully, you avoid toxic environments. Never let anyone treat you poorly. But understand that some gigs will last well into the night.
Determine if the Lifestyle Suits You
Some people are not going to like working in Hollywood. I have so many friends who have left for this reason. That is okay!
Before pursuing a career in the film industry, consider whether the demands and lifestyle suit your personal needs and preferences. Balancing work and personal life can be challenging, so assess your priorities and ensure you’re prepared for the potential sacrifices.
Behind the scenes of ‘Blackkklansman’Credit: Focus Features
7. Create Your Own Opportunities
Stop waiting for other people to hand you things. Be the driving force behind your own opportunities.
Produce Your Own Content
Make your own things, even if you never show them around. Learn how to work and what works for you.
If you’re struggling to find opportunities in the film industry, consider creating your own projects. With the accessibility of technology and resources, producing your own content has never been easier. Write, direct, or act in your own films and share them on social media or submit them to film festivals.
Be Persistent and Adaptable
Breaking into the film industry requires persistence and adaptability. Don’t be discouraged by rejection or setbacks; instead, use them as learning experiences and motivation to improve your skills and increase your chances of success.
There is no one way to break in, try anything and be okay with failure. It happens to us all.
‘Nomadland’Credit: Searchlight
8. Explore Alternative Routes and Locations
Hollywood is awesome, but there are ways to break in from anywhere. I think they are harder and can limit networking, but anything is possible.
Consider Opportunities Outside of Hollywood
While Hollywood may be the epicenter of the film industry, there are numerous opportunities for filmmakers in other locations and industries.
Explore job openings in independent films, theatre, commercials, or even countries where English isn’t the native language. By broadening your horizons, you may find unique opportunities to develop your career.
And you might be able to fill jobs that other people there are not qualified to do.
Utilize Your Skills in Non-Entertainment Fields
At the end of the day, you need to make money to survive. Everyone needs a day job, so figure out what kind of day job might have overlapping skill sets.
Don’t limit yourself to traditional film industry roles. There are many jobs available in non-entertainment fields that require writing, directing, or acting skills, such as marketing, advertising, or corporate video production.
Pursuing these opportunities can help you gain valuable experience, build your network, and potentially transition into the film industry.
And they can keep you sharp for your heart’s work.
Don’t let bumps in the road dissuade you from what you want in life. Buckle up and push ahead.
Set Clear and Attainable Goals
Don’t make wild claims or goals that you could never achieve.
Rather than focusing on unattainable dreams, set clear and achievable goals for your career in the film industry. Identify the steps and milestones needed to reach your goals, and work consistently towards them.
Chloé Zhao on set of ‘Eternals’Credit: Walt Disney Studios Motion Pictures
10. Be Patient and Persistent
Breaking into Hollywood takes time, patience, and persistence. Stay motivated, continue to develop your skills, and seize opportunities as they arise. With dedication and perseverance, your hard work will eventually pay off, and you’ll find success in the film industry.
By following these tips, focusing on your goals, and exploring alternative routes, you can build a successful career as a filmmaker. Remember, the key to success is persistence, adaptability, and a passion for your craft.
An experienced feature film Producer, Emmanuel Itier directed several pictures before completing in 2012 the Peace documentary ‘The Invocation’ narrated by Sharon Stone and staring Desmond Tutu, HH The Dalai Lama, Deepak Chopra as well as many worldwide peace activists. In 2013 Mr. Itier executive-produced a Drama filmed in Hong Kong: ‘Red Passage’ which won many Awards in the Festival circuit. Emmanuel Itier has also been a successful Music and Film journalist for both Rock Magazines, French TV networks and various websites for the last twenty five years. Finally Itier has been a buyer for many French and American Film distribution companies for the last twenty years. He was on the board of directors of the Santa Barbara Film Festival for a decade and he writes poetry. He is also very involved with charities and the political world. Mr. Itier seats on the board of Directors of ‘Darfur Women Action Group’ in an attempt to bring Peace to Darfur. He is also the founding President of the Rotary E-Club of World Peace ( www.RotaryEclubofWorldPeace.org ) and he is part of the U.N Association, Santa Barbara chapter. Lately he joined the World Council of Wisdom (https://thevisioneers.ca ) to bring Peace to the World.
Mr. Itier grew up in France and he moved in the USA thirty years ago. He resides in Santa Barbara, California with his wife and three sons. Emmanuel Itier released in 2014 another inspiring documentary Celebrating Women around the planet: ‘FEMME-Women healing the World.’ This Documentary earned over 20 Awards around the World.
Late 2017 Mr. Itier completed his third feature Documentary: ‘Shamanic Trekker’, about shamanism in Peru. Mr. Itier has just released two more documentaries in order to keep “Making Peace, One movie at a time.”
These films are part of a series called ‘The Oneness Collection: Documentaries for a conscious Humanity.’ The first one is called ‘The Cure: Healing The Mind, Healing The Body, Healing the Planet’ and the politically loaded Doc: ‘We The People: A Re-Evolution of Economics and Politics’, which is sure to shake the system!
Mr. Itier is a recipient of the ‘2018 Global Citizen Award’ from the prestigious United Nation Association and he was named President of The Year 2018 by the Rotary E-Club of World Peace.
In 2019, just before the beginning of the Covid pandemic, Mr. Itier went to film a drama about quantum physics in Germany and in German. The shooting was stopped by the crisis and he hopes to return by mid 2021 to complete this new endeavor.
In 2021 the impactful and very timely 6th documentary directed by Emmanuel will be released: ‘Guns, Bombs & War: A Love Story’.
Finally, Mr. Itier has formed a spiritual and political movement in France called ‘The French Victory’ (www.LaVicotireFrancaise.net ) with the ambition to run for President in 2022. His vision is: “I, The People – We, President.”
Forrest Gump lived a famously full life. Perhaps a little too full, if you ask Tom Hanks.
Appearing on a panel at The New Yorker Live this week, the actor recalled the extensive travel that was required for the role that won him his second Oscar. As Hanks remembers it, the grueling process of filming the montage of Forrest running across America made it difficult for him to show up for the film’s most important scenes.
“I was so exhausted because we had shot twenty-seven days straight,” Hanks said. “Remember how Forrest ran across the country? Well, there’s only one way to get those scenes, in those days. You had to fly to the goddamn place, put on the costume, run for an hour and a half, then go back, get on the plane, and then fly to, say, New Hampshire, and do it all over again. So I’m exhausted. I don’t know what’s going on. The scenes on the park bench have oceans of dialogue, and we shot them in a day and a half.”
Hanks revealed that he was seriously concerned about his ability to remember all of his monologues in his exhausted state.
“I said to Bob — the director, Robert Zemeckis — ‘Bob, my head is fragile, frazzled. We’re doing all these scenarios with different people, and every one of them has a page and a half of dialogue. I will never be able to keep this in my head.’”
Fortunately, his director had a plan. Hanks said that Zemeckis opted to shoot certain scenes in the style of a multi-camera sitcom, getting multiple angles at the same time and allowing Hanks to rely on cue cards, in order to speed things up for his leading man.
“‘Oh, don’t worry, Tom. We’ll shoot it like ‘I Love Lucy.’ We’ll have four cameras. We’ll put the words up on cards if you need it. You can just read ’em,’” Hanks recalled Zemeckis saying to him. “I said, ‘Oh, great, thank you. Let’s make this an even more artificial atmosphere!’”
Hanks’ concerns ended up being unfounded and “Forrest Gump” became one of his most recognizable roles (it presumably isn’t on the list of movies that he hates). While the actor said that he didn’t know if the film would be a hit while they worked on it, he admires Zemeckis for being willing to take creative risks on the film.
“And so Bob Zemeckis, God bless him — I’ve worked with him more than once — landed on the absolute truth of anybody who has gone forward and said, ‘We are going to commit something to film today,’” Hanks said. “You do not know if it is going to work out. You can only have faith.”
The Navigator Exotic in Destiny 2 is the most recent Trace Rifle that players can obtain following the release of the Season of the Deep and the Ghosts of the Deep dungeon. Trace Rifles are not the most popular weapon in Bungie’s online shooter, but they are a great source of Elemental damage against opponents. The recently introduced Navigator Trace Rifle, however, is not only an Exotic piece but also shoots Strand munitions, making it a reliable asset for Strand builds in Destiny 2.
SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
Players who tend to occupy a more supporting role in a Fireteam will have an additional tool at their disposal if they choose to use The Navigator. This Exotic Trace Rifle in Destiny 2 has the Protective Weave perk, which allows the user to fire the weapon at an ally and, by doing so, grant Woven Mail to themselves and the target. Woven Mail is a powerful protective buff that serves as a Strand armor, so being able to apply it with a weapon can prove to be an excellent strategy for harder activities.
How To Unlock The Navigator Exotic In Destiny 2
However, before players can actively use The Navigator Exotic in Destiny 2, they must unlock it. Luckily, the method of obtaining it is quite straightforward. On the other hand, it is somewhat offset by a low drop rate that may require some grinding. To get the Exotic Trace Rifle, players must run the Ghosts of the Deep dungeon and, essentially, complete it. Unfortunately, the weapon is locked behind the last encounter in the activity; a boss called Simmumah ur-Nokru.
As calculated by Blueberries.gg, the drop rate for The Navigator in the Ghosts of the Deep Dungeon is estimated at around 5%. With such a low drop rate, players may have to run the dungeon multiple times before actually obtaining the Exotic Trace Rifle. To gain access to the Ghosts of the Deep Dungeon in Destiny 2, players need to have the Lightfall Dungeon Key, which can be acquired individually or as part of the Annual Pass edition of the expansion.
How To Obtain The Navigator’s Catalyst In Destiny 2
After players have obtained The Navigator Exotic in Destiny 2, they can consider getting the weapon’s Catalyst. This additional perk grants the weapon a special form of reload in which the next shot fired creates a Grapple Tangle. While this does not directly help with offensive firepower, it is yet another Strand support skill that can aid the rest of the Fireteam. Finally, as demonstrated by 360GameTV on YouTube, players need to run the Ghosts of the Deep dungeon and complete a few hidden side objectives.
The main goal is to collect Dead Ghosts and, with the Vestige of Light buff, find the Dormant Statues in Destiny 2‘s Ghosts of the Deep dungeon and activate them. These activations will spawn a shielded Lucent Hive mini-boss and three yellow bar enemies. Each yellow bar enemy has a Hive symbol near them, and defeating the correct ones in order and standing in the puddle they create will grant players the Piercing Light buff, which will allow the Lucent Hive mini-boss to be damaged. There are a total of three fights like these throughout the dungeon.
While each fight is held as an individual encounter, all the fights necessary to obtain The Navigator’s Catalyst are against the same opponent: Thul-Ar, Acolyte of Nokris.
The first encounter needed to obtain The Navigator’s Catalyst in Destiny 2 is near the starting point of the Ghosts of the Deep Dungeon and should be completed after the first boss is killed. Activating the second encounter requires players to pass through the underwater section, get the Dead Ghosts, and return to the previous room, going through the submerged section again.
This last Destiny 2 puzzle is in the main platforming session of the dungeon. The trick with it is that once the Dead Ghosts are collected, all the enemies in the area respawn, so getting to the Dormant Statue can be tricky. However, 360GameTV makes their way through a safe and straightforward path that can easily be done with the help of the Fireteam. After all three optional encounters are dealt with, The Navigator’s Catalyst will be rewarded to players who have not yet obtained it in Destiny 2.
Make sure to manually crush Thul-Ar’s Ghost in the third and last encounter of Ghosts of the Deep dungeon, otherwise, he will respawn with full health.
After gaining The Navigator’s Catalyst in Destiny 2, players need to level it up to unlock its extra perk. To do so, players must kill a certain number of opponents using the Exotic Trace Rifle. The estimate is around 400 and 500 opponents, as is the case with most Exotic weapon Catalysts. After this is done, the special reload will become available to equip The Navigator with, and Strand players in Destiny 2 can start using the Grapple Tangles in a new and creative way.
PlayStation 4, Xbox One, PlayStation 5, Xbox Series X/S, Microsoft Windows, Stadia
Released:
2017-09-08
Developer:
Bungie
Publisher:
Activision, Bungie
Genre:
Sci-Fi, Action
Multiplayer:
Online Co-Op, Online Multiplayer
ESRB:
T
Summary:
Destiny 2 is a multi-player, live-service, first-person shooter by the original creators of Halo, Bungie. Players will assume the role of a Guardian – an elite force of protectors of Earth that are bestowed with a power called Light to defend humanity from encroaching aliens and a threat known as the Darkness. The game has several expansions that flesh out the world and constantly change the core game’s world while introducing brand new challenging raid events for teams of players to take on.
How Long To Beat:
12h 17m
Expansion Packs :
Forsaken, Shadowkeep, Beyond Light, The Witch Queen, Light Fall
Hugo Speer, known for his role in 1997’s The Full Monty, is opening up about why he believes he was unfairly let go from the upcoming Disney+ television spinoff of the hit movie.
The actor starred as Guy in the 90s film that followed six unemployed steel workers as they form a male striptease act. Decades later, he was among several original castmembers set to reprise their roles in the series, which is set to premiere June 14.
But everything changed when Disney said Speer’s contract was terminated for “inappropriate conduct” during filming in Manchester, England. During a recent interview with the Daily Mail, Hugo claimed that a runner, with some on-set experience, knocked on his trailer when he was changing, and while he claims he told her to wait a minute, she opened the door anyway. The actor said he hid behind a wardrobe and was confused at why she didn’t leave when she realized he was changing.
A few days passed and that’s when Hugo said a producer pulled him aside while on set and told him, “There’s been a couple of complaints about you.”
Huge responded, “What?’ I’ve never, in 31 years, had a single complaint about my conduct.” The actor said the producer then proceeded to tell him, “You’ve been seen undressed in your trailer.”
After being “told I’d made members of the crew feel ‘uncomfortable,’” Hugo said he was left “shocked.”
“I tried to think back and remembered the runner, but she hadn’t said anything since she opened the door on me,” he added. “Not ‘that was a bit awkward.’ Nothing. We just carried on doing our jobs.”
He ended up being sent home for several weeks, hoping it would all be worked out, but Hugo said after an investigation, his character was written out of the rest of the series and he was terminated.
According to a copy of an investigation report that he received, Hugo said he was accused of being seen undressed in his trailer by a costume trainee, and she complained she had seen him walking naked by an open door in his trailer.
Since being let go from the project, Hugo said he hasn’t worked. “It was tragi-comic, but they didn’t realise how badly affected I was,” the actor told the outlet. “I went into massive, deep shock. As you can see, I’m still kind of there.”
After everything, Hugo said he also struggled with depression and his mental health. He added, “They’ve taken my job. They’ve taken my reputation. They’ve taken my money. They’ve taken my mental health.”
A Disney spokesperson said in a statement to the Daily Mail, saying, “Last year, we were made aware of allegations of inappropriate conduct by Hugo Speer on the set of The Full Monty. As is policy, an independent investigation was launched. Upon its completion, the decision was made to terminate his contract, with immediate effect.”
The Hollywood Reporter has reached out to Disney reps for comment.
One of the joys of being an independent film critic is witnessing the sheer breadth of creativity that enterprising, low-budget filmmakers use to bring their visions to life. Directors have made some truly stellar motion pictures with barely two cents and a lot of imagination. On the flip side, some flicks seem to be made to turn around a quick buck from unsuspecting viewers; yes, even in the indie realm, this exists. Enter director Dennis Devine and screenwriter Randy Oppenheimer’s comedic horror tale Fangs Out.
Fangs Out is about a group of friends seeking less-than-reputable plastic surgery. Alaina (Heidi Hemlock) pays for her college tuition by acting in porn. As such, she would like vaginal restoration surgery. Her beau, Quinn (Brian Easter Jr.), is an African-American student who wants a bigger c**k. Rallying the troops, so to speak, is Skyler (Marlene McCohen), who wants larger tits because…. Going along for moral support is Madison (Stacy Aung). Maybe it’s her Catholic school upbringing, or perhaps she truly loves her friends as they are; either way, Madison keeps trying to talk the others out of getting the surgery.
“…there is something sinister about the doctor and his nurses.”
The other three don’t listen, and after a long but scenic drive, the four friends wind up at a bookstore in a small town on the U.S. side of the border. There, they consult the pervy shopkeeper Tony (Keric Rivas), who draws a map of the path they must walk to cross the border to the plastic surgery center. While they arrive later than expected, Nurse Angela (Desiree Estrada) invites them without hesitation. Skyler and company are now introduced to the plastic surgeon Dr. Pavor (Samuel Code). Throughout their time there, Alaina, Quinn, Skyler, and Madison quickly realize that there is something sinister about the doctor and his nurses.
All the while, Detective Lee (Randy Oppenheimer) is searching for his daughter. She was another patient at this mysterious, under-the-table establishment. The detective’s quest for his offspring puts his life in great danger, as it turns out the surgery house is a harbor for vampires.
A car bomb killed at least one person on Friday night in Russian-occupied southern Ukraine, according to Ukrainian and Russian officials, highlighting the war’s reach far beyond the front lines as Ukrainian partisans aim to undermine their occupiers.
The blast occurred in Mykhailivka, a town in Ukraine’s Zaporizhzhia region. The vehicle targeted was carrying “four supporters of the Kremlin,” said Ivan Fedorov, the Ukrainian mayor in exile of the Russian-occupied city of Melitopol, about 30 miles south, on the Telegram messaging app.
Vladimir Rogov, a Russian occupation official in the Zaporizhzhia region, confirmed the attack in a Telegram post, saying the bomb killed a “local businessman” named Sergei Didovoduk and injured two others. On Saturday, he said that the authorities had opened an investigation.
The attack comes as Ukrainian forces are preparing for a highly anticipated counteroffensive that analysts believe will take place in southern Ukraine. Kyiv’s troops will probably aim to sever the land routes that connect Russia to Crimea, which Moscow illegally annexed in 2014, according to analysts and Western officials.
“We are ready,” said President Volodymyr Zelensky of Ukraine in a recent interview with The Wall Street Journal that was published on Saturday.
Much is riding on the coming counteroffensive, especially on the heels of Russia’s recent capture of the eastern Ukrainian city of Bakhmut. In the meantime, partisan attacks like the one on Friday night have become a staple in occupied areas as Ukrainian insurgents target the Russian military and so-called Russian collaborators.
Mr. Rogov portrayed Mr. Didovoduk as a member of local civil society who “regularly fed neighbors in need in his cafe for free.” According to Mr. Rogov and unverified footage of the aftermath of the attack posted on social media, Mr. Didovoduk died in a Soviet-made Niva car, an unassuming sport utility vehicle.
Ukrainian officials suggested Mr. Didovoduk’s cafe, the Hetman, was frequented by Russian soldiers and occupation officials.
The cafe is named after the customary title of the head of the Cossack state that existed in Ukraine in the 17th and 18th centuries and played a major role in the foundation of modern Ukraine.
Mr. Didovoduk was registered to compete for Russia’s governing party in upcoming local elections, Mr. Rogov said. The Kremlin has pushed forward with plans to stage local elections in September in four Ukrainian regions that Russia illegally annexed last year, an attempt to legitimize the moves despite the constantly changing frontiers of the territory under Russian control.
Ukraine has denounced the elections in the annexed regions — Zaporizhzhia, Kherson, Luhansk and Donetsk — as a sham.
The killing of Mr. Didovoduk also raises questions about the legality of partisan attacks under the internationally recognized law of war, including whether partisans are considered combatants.
Ukrainian partisans say they are civilians and the legal basis for their activity is regulated under Ukrainian law, not the laws of war that include prohibitions on a soldier targeting a civilian official. But under international laws, civilians become combatants when they start taking part in hostilities.
Here’s what else is happening in Ukraine:
Bomb Shelters: A nationwide inspection of bomb shelters across Ukraine found that 893 of more than 4,800 checked so far were “unsuitable for use,” the interior minister posted Saturday. Mr. Zelensky ordered inspections in response to accusations and questions raised by the deaths of three people who had been locked outside their neighborhood shelter at a children’s health clinic in Kyiv on Thursday.
Amid an ongoing criminal investigation, the clinic security guard was ordered held in custody on Saturday pending a trial, according to the Kyiv City prosecutor’s office. Three other people were placed under 24-hour house arrest, it added.
Belgorod Assaults: Attacks in the Russian border region of Belgorod, where some areas have become a new front line, continued on Saturday. Belgorod’s regional governor, Vyacheslav Gladkov, said hat the area of Shebekino, a town of 40,000 six miles from the border, had been coming under Ukrainian shelling since the morning. Two people were killed, he said, bringing to seven the number of people killed in recent days.
HARDIN, Mont. — Carly Ann Goddard, a 22-year-old stay-at-home mom, drives an hour past grazing cattle, sheep and horses to buy groceries, a testament to her isolation in a rural pocket of eastern Montana.
But when she uploads a short video to her TikTok account, which she does several times a week to chronicle life as a rancher’s wife, she reaches an audience of 99,000 — more people than inhabit nine of her state’s 10 largest cities and 660 times the population of the town where she lives.
That audience allows Goddard an opportunity that wouldn’t be available otherwise in her part of Montana. As an influencer on TikTok, she earns between $2,000 and $6,000 a month for endorsing the merchants who sell the items she talks about in her videos. She says she’s developed friendships and business partnerships that would have been impossible without the app.
“I feel like I have found my purpose,” Goddard said. “I wake up every morning, loving that I do this, loving that I get to stay home with my son. … It’s built my confidence.”
Now she worries all that could disappear. Montana last month became the first state to outlaw TikTok, citing concern that the app could allow the company’s Chinese owners to hoover up Americans’ personal data and become a font of anti-American propaganda — though Goddard’s videos of her son, her furniture and her favorite recipes are decidedly wholesome.
(Video: @carlygoddardd via TikTok)
The prospect has forced Goddard and her husband to put on hold plans of expanding their family and contemplate moving to Florida, where they met, though the ban doesn’t go into effect until next year and faces at least two legal challenges — including the lawsuit Goddard joined last month with four fellow TikTokers who say the ban violates their First Amendment rights.
Goddard considers herself apolitical; she’s never voted. But in standing up for her right to post to TikTok, she’s firmly taken a side in a heated debate that roils not just Montana but much of the rest of the country. While many TikTokers have sent supportive messages, she’s also gotten a deluge of hateful comments from strangers calling her a communist and accusing her of “ruining” Montana. The comments are so alarming that she insists on meeting a reporter far from her home.
(Video: @mt_guy via TikTok)
At first glance, Montana seems like an unlikely place for the TikTok drama to play out. Only a million people live here; the state is one of the nation’s largest by area and least densely populated. Its dominant industries — agriculture, forestry, mining, oil and gas extraction, tourism — are more rooted to the land than tethered to the cloud.
The latest technology is present but not ubiquitous: It’s possible to drive 800 miles and encounter only one Tesla on the highway. People aren’t noticeably filming videos or snapping selfies for social media in public, though each of the influencers suing Montana distinctly remembers the first time a fan recognized them on the street.
Still, technology is driving a lot of change in Montana, and not everyone is happy about it. During the pandemic, digital nomads from other states flocked to Missoula and Bozeman, the state’s second and fourth most populous cities, driving up property prices and infusing a big-city intensity and sense of anonymity into places that locals say not long ago felt like small towns.
Outsiders are even importing their water sports. On a recent Saturday, over a dozen people were surfing in the Clark Fork River in Missoula. And it didn’t take long to find a California transplant among them who’s troubled by the rightward current in Montana politics.
Montana was once solidly purple, frequently electing governors of one party while giving the other control of the state legislature. One of Montana’s two U.S. senators, Jon Tester, is a Democrat who’s been in office since 2006, though he’s up for reelection next year.
But lately, the state has grown more red. In 2020, Republicans gained control of the governor’s office and the state legislature, where GOP lawmakers outnumber Democrats 2-to-1. It’s only the second time in the past 75 years that the GOP has had such an across-the-board majority.
To some extent, the state’s divisions over politics and access to technology mirror those in the country at large: Conservatives are clustered in rural areas, where broadband access and cellphone reception can be spotty, and liberals are more likely to reside in cities, where it’s easier to get online and engage with the wider world. Last year, Gov. Greg Gianforte (R) announced a $309 million effort to expand Montanans’ access to reliable broadband.
TikTok is one of many national debates raging in Montana. Abortion remains legal here, though the governor recently signed new restrictions on the procedure. The legislature recently silenced its first openly transgender lawmaker, state Rep. Zooey Zephyr (D), after she spoke out against a bill aimed at banning gender-affirming care. And though the Montana constitution enshrines a right to a clean environment, Gianforte last month signed a bill barring the state from calculating the climate impacts of major projects such as coal mines and power plants.
Interviews with dozens of residents show that Montanans, like Americans at large, are divided on what to do about TikTok. According to a national Washington Post poll conducted in March, 41 percent of Americans support banning TikTok while 25 percent oppose a ban and 34 percent said they were unsure. Republicans were more likely than Democrats to support banning the Chinese-owned social media app; federal and state calls for a ban have largely been led by Republicans.
Goddard’s four co-plaintiffs live in or near the liberal college towns of Missoula and Bozeman. One of them, Heather DiRocco, 36, is a military veteran who said she felt compelled to speak up against the ban because she took an oath to protect people from foreign and domestic enemies — and she considers that oath to be everlasting.
“I served in the Marines because I believe in the freedoms we have in this country,” DiRocco said while sitting on a city bench in Bozeman. “I don’t believe we’re a communist country. I don’t believe that we are a fascist country. Do I see warning signs of it? Absolutely.”
(Video: @ladydredknot via TikTok)
Montana is among several states that have introduced bills this year seeking to restrict access to health care, sports and public accommodations by transgender people and bar them from changing their name or gender on a driver’s license or birth certificate. The Montana legislature exiled Zephyr from the House chamber during debate over one such bill, a move that free-speech proponents say bears troubling similarities to the TikTok ban.
Zephyr doesn’t make the connection herself. But she criticizes the ban for not meeting Montanans’ desire for data privacy. The last time voters amended the state constitution was to pass a 2022 amendment requiring a search warrant to access residents’ electronic data or communications.
One of Zephyr’s fellow Democrats proposed amending the TikTok bill so that it would apply to any social media company sharing user data with a foreign adversary, but the legislature rejected it. The governor suggested a similar amendment before signing the legislation into law, but the bill’s proponents shot it down.
The law’s failure to target any company but TikTok is a key issue in the company’s own legal challenge, which says the law violates the U.S. Constitution’s prohibition on bills of attainder, or laws that punish a specific business or person without a judicial proceeding.
The debate over TikTok exploded here after a Chinese spy balloon was spotted floating over the state in February. The bill’s lead sponsor, state Sen. Shelley Vance (R), argued that banning TikTok would put “an end to China’s surveillance operation in Montana.”
Vance didn’t respond to a request for comment. But at a grocery store in her district, voters voiced an array of views. Shayla Burch, 26, of Belgrade (Montana’s eighth largest city with a population of 13,500) called the ban “a breach of our freedom.”
“We should we able to express ourselves,” Burch said, adding that watching videos on TikTok makes her feel better when she’s sad. “It’s a coping thing. Please don’t take that away.”
Cheyanne Erickson, 23, said she’s “hardcore” in favor of the ban. “I do believe it’s something that’s used to watch over us, and it’s the most useless app ever.”
But Erickson said she doesn’t despise only TikTok: She got rid of all her social media accounts and is opposed to many technological advances. “I’d go back to paper and pen,” she said, adding that she’d “love to live in the 1950s.”
Hazel McKay, a 23-year-old painter, said he got rid of TikTok about a month ago after reading the app’s privacy policy and growing concerned about its ability to access his phone’s contacts and search history. But McKay said that he has friends who are upset about the ban and that he’s not interested in forcing his views on anyone else. He said he had experienced things like that at Montana State University, where professors pushed big-city politics onto small-town students like himself.
“I was hated for being a country kid instead of a city boy,” McKay said, adding that he’s seen Montana change immensely in his lifetime.
How much Montana has changed is another theme that surfaces in conversations about TikTok. McKay grew up in Bozeman, a city that some now derisively call “Bozeangeles” because it grew rapidly in recent years as remote workers arrived from California seeking more space and a laid-back lifestyle. McKay can’t afford to live there, he said, so he moved Belgrade, about 10 miles away.
When asked about TikTok, many Montana residents say they have stronger feelings about skyrocketing prices on everything including homes and lattes. According to a March analysis of home prices on Zillow by real estate firm Boulder Home Source, Montana home prices have increased 79 percent in the past five years, to an average of more than $430,000.
“The resentment toward outsiders has been around for quite awhile. But I think lately it has intensified,” said Mike Dennison, a longtime political reporter based in Helena, the state capital. Montana used to be a place where incomes weren’t great but the cost of living was low, Dennison said. “Now, you still don’t get paid that much, and it’s super expensive to live here.”
Outside Lynn’s Superfoods grocery store in Hardin, a town of about 4,000 in eastern Montana, truck driver Mike Hampton, 58, said he supports the ban because he has grandchildren who are glued to TikTok “to the point of distraction.” One was so absorbed by the app that she walked right into a tree in the backyard, he said.
Patti Medicinehorse, a critical-care paramedic in Big Horn County, said she, too, supports the ban because of her grandchildren. She worries that they’ll imitate one of those viral challenges where people do ill-advised things like cooking chicken soaked in NyQuil or gluing vampire fangs to their teeth.
“We try to teach them to think and to be responsible and respectful, and they get caught up in what everyone else is doing and they don’t think about the danger,” said Medicinehorse, 62.
Then there’s Goddard, who started experimenting with TikTok when she was feeling depressed and isolated as a stay-at-home mother in a small town. After seeing posts by a woman with a son the same age as hers, Goddard said she was inspired to try it herself.
Her short videos about life as a young mother and rancher’s wife quickly resonated with viewers from Texas to Britain.
“At first, obviously, I didn’t really know that I would impact people,” Goddard said as her son toddled outside a general store in Hardin, chasing his shadow in the morning sun. But people soon started telling her things like, “Oh, I hope that I can be the mom you are someday,” or “I can’t wait to be the wife that you are. I want to have that life.”
The social media platform has since become her lifeline to the outside world. In the summer, Goddard’s family relocates to the ranch where her husband works. Cell service is so spotty there that it’s easier to get on TikTok than make a phone call.
As her following grew, brands such as Caraway cookware and Baby Bjorn came calling. Before the brand deals, Goddard said her family could afford to go grocery shopping just once a month. Now, she said, “we can go whenever we want.”
“I’ve gotten so used to making this money,” Goddard added. “I don’t think I can go back to being just paycheck to paycheck.”
Miramax Presents The Film That Lit My Fuse is a Deadline video series that aims to provide an antidote to headlines about industry uncertainty by swinging the conversation back to the creative ambitions, formative influences and inspirations of some of today’s great screen artists.
Every installment asks the same five questions. Today’s subject is Jay Roach, the versatile director and producer who directed all eight of the first season of episodes of High Desert, the new Apple TV+ series that stars Patricia Arquette, Brad Garrett, Rupert Friend, Bernadette Peters and Matt Dillon.
Best known for directing the blockbuster comedy franchises Austin Powers and Meet the Fockers and producing the Sacha Baron Cohen subversive comedies Borat and Bruno, Roach has also directed a series of politically-charged dramas that include the Fox News Roger Ailes drama Bombshell, Recount, Game Change and All The Way, the Bryan Cranston-starrer Trumbo, the Will Ferrell-Zack Galifianakis-starrer The Campaign, Mystery, Alaska, Dinner for Schmucks and many others. How did Roach veer from earning an economics degree from Stanford to a four-time Emmy winner? A chance encounter with the David Lynch surreal film Eraserhead had a lot to do with the course change.
After less than a month of negotiations, the Directors Guild and Hollywood’s top studios and streamers have struck a tentative deal on a new three-year labor contract.
Details of the agreement between the union and the Alliance of Motion Picture and Television Producers (AMPTP) include gains in wages and benefits, streaming residuals, AI protections and more. (Full details are below.) Union leaders will need to lay out what they perceive to be the gains and compromises in the contract to members in the coming days before members ultimately participate in a ratification vote. The ratification vote has been set for Tuesday.
The new deal arrives after the DGA and AMPTP spent all day Saturday at the negotiating table.
“We have concluded a truly historic deal,” said Jon Avnet, chair of the DGA’s Negotiations Committee. “It provides significant improvements for every Director, Assistant Director, Unit Production Manager, Associate Director and Stage Manager in our Guild. In these negotiations we made advances on wages, streaming residuals, safety, creative rights and diversity, as well as securing essential protections for our members on new key issues like artificial intelligence – ensuring DGA members will not be replaced by technological advances. This deal would not have been possible without the unity of the DGA membership, and we are grateful for the strong support of union members across the industry.”
“This deal recognizes the future of our industry is global and respects the unique and essential role of directors and their teams as we move into that future,” said Lesli Linka Glatter, President of the DGA. “As each new technology brings about major change, this deal ensures that each of the DGA’s 19,000 members can share in the success we all create together. The unprecedented gains in this deal are a credit to the excellent work, tenacity and preparation of our Negotiations Committee. I am so proud of the phenomenal leadership and dedication of Negotiations Chair Jon Avnet, Co-Chairs Karen Gaviola and Todd Holland and our Chief Negotiator, National Executive Director Russ Hollander, and our more than 80-member Negotiations Committee. I’m also incredibly grateful to the DGA staff, who worked tirelessly for the past year and a half to achieve this excellent deal.”
The DGA went into negotiations with an unusually grave tone on May 10. Beyond the fact that a writers’ strike had erupted before its leaders walked into the room, the labor group had been warning its 19,000 members for months that this round of talks with studios and streamers would be difficult, and strayed from its usual practice of negotiating far in advance of the contract’s expiration in the hopes that doing so would provide its negotiators with more leverage. The union also appeared to be preparing to mobilize its members quickly by creating an “outreach team” dedicated to handling internal communications and building unity.
“Every member of our union can be proud of the gains we’ve achieved across the board,” said Russell Hollander, National Executive Director of the DGA. “Significantly, and for the first time ever, global SVOD residuals will be paid based on the number of international subscribers. The result is an 76% increase in foreign residuals for the biggest services. As our industry becomes increasingly global, these gains are imperative to ensuring our members are valued and compensated for their incredible work.”
One of the DGA’s major pushes in these talks was to institute a streaming residual that reflects the growth of streaming platforms worldwide. The union argued that its Streaming Video On Demand (SVOD) residual is based primarily on the number of platform subscribers in North America, while the numbers of global subscribers count less, as employers pay a fraction of the domestic residuals rate to compensate for them.
The union was also looking to improve data transparency from studios and streamers, codify new safety and diversity, equity and inclusion measures, protect the union’s health and pension plan, raise wage floors and support contractual creative rights for members.
If the DGA made significant headway in areas such as streaming residuals and/or data transparency, its deal could have some minor ramifications for the ongoing writers’ strike. The Writers Guild of America went out on strike on May 2 after that union and the AMPTP could not reach an agreement on a slate of issues including residuals and data transparency. A DGA deal could offer a template to compromise on those particular points for the WGA. Still, the latter union largely has proposals (including many of its key asks) on the table that don’t have any overlap with the DGA’s demands and it remains unlikely that DGA progress on residuals and data transparency would change the game for writers.
In a letter to members June 1, the WGA re-asserted its position that the AMPTP “will have to negotiate with the WGA on our full agenda” no matter if one of the other unions — i.e. the DGA — agrees to a new contract.
On Wednesday, May 31, as the directors entered their last week of negotiations, a coalition of unions including the WGA, SAG-AFTRA, IATSE and the Teamsters said in a statement that they “stand alongside our sisters, brothers, and kin in the DGA in their pursuit of a fair contract.” The group added, “As eyes around the world again turn towards the negotiation table, we send a clear message to the AMPTP: Our solidarity is not to be underestimated. The Hollywood guilds and unions stand united, and we stand strong.”
DGA national executive director Russell Hollander led talks for the union, while AMPTP president Carol Lombardini led discussions for studios and streamers.
Here are details on the new contract:
· Wages and Benefits: Groundbreaking gains in wages and benefits including a 5% increase in the first year of the contract, 4% in the second year and 3.5% in the third year. Additional 0.5% to fund a new parental leave benefit.
· Global Streaming Residuals: Substantial increase in the residuals for dramatic programs made for SVOD by securing a new residual structure to pay foreign residuals. The result is a 76% increase in foreign residuals for the largest platforms so that residuals for a one-hour episode will now be roughly $90,000 for the first three exhibition years.
· Artificial Intelligence: Groundbreaking agreement confirming that AI is not a person and that generative AI cannot replace the duties performed by members.
· Non-Dramatic Programs: Established the industry’s first-ever terms and conditions for directors and their teams on non-dramatic (Variety and Reality) programs made for SVOD. Improved residuals and for the first time, Associate Directors and Stage Managers will now share in the residuals.
High Budget AVOD Terms and Conditions. Achieved the industry’s first-ever terms, creative rights protections, working conditions and residuals for scripted dramatic projects made for free to the consumer streaming services such as Freevee, Tubi and Roku. Unit Production Managers and Assistant Directors will share in the residuals.
Feature Directors: Historic first-time compensation for the months of “soft prep” Feature Directors currently perform for free prior to the start of the director’s official prep period.
· Episodic Directors: For Pay TV and SVOD, Episodic Directors won expanded paid post-production creative rights; and gained an additional guaranteed shoot day for one-hour programs – the first additional day added in more than 40 years.
· Reduction in Hours: Unprecedented reduction in the length of the Assistant Director’s day by one hour.
· Safety: Achieved concrete safety advancements including the first-ever pilot program to require the employment of dedicated safety supervisors; expanded safety training programs for both directors and their teams, and the ban of live ammunition on set.
Katrina Kaif once learnt a romantic Punjabi song for Vicky Kaushal.
Vicky Kaushal and Katrina Kaif got married on December 9, 2021 in Rajasthan.
Vicky Kaushal and Katrina Kaif are one of the most loved couples in BTown. The duo don’t shy away from expressing their love for each other with their thoughtful gestures. Having said that, Katrina had once tried to learn a romantic Punjabi song for Vicky, but ended up choosing the wrong song.
In an interview with ABP, Vicky revealed that he doesn’t remember which song his wife learned, but he shared that Katrina thought the song was romantic and wanted to sing it for him. “I don’t remember which song she sang but this one song she learnt, she thought it was a romantic song and wanted to sing that to me. But the actual meaning of the song was ‘mere se panga loge, toh main goli maar dunga (if you cross me, I’ll shoot you). I said, I’m finding this romantic, but please don’t sing this song in front of anyone else.”
When asked about his bonding with Katrina, the actor shared, “I think we connect on a human level more than anything else. Emotions are universal, so when you find that person when you feel that you can genuinely be your true self, then nothing else matters.”
Vicky also added that Katrina has started speaking a ‘little bit’ of Punjabi now. “She speaks a little bit of Punjabi now. If you ask her, ‘Ki haal chaal? (How are you?),’ she says, ‘Vadhiya hai (I am fine).’ Some time back she learned a Punjabi song. With me, it comes naturally to me. I listen to a lot of Punjabi songs, I don’t understand other songs, I don’t understand English songs.”
Earlier last year, in an interview with Filmfare, Vicky shared that his marriage with Katrina is ‘beautiful’. “Because it puts you in a peaceful, blissful state of mind that makes you feel loved all the time. And when you feel loved, you feel like giving love not just at home but outside the house as well. It just brings out the best version of yourself.” He also added how having Katrina as his companion for life is ‘just the most beautiful thing to happen.’
Vicky Kaushal and Katrina Kaif got married on December 9, 2021 in Rajasthan. The couple had an intimate wedding with only close friends and family members in attendance.
On the work front, Vicky Kaushal recently starred in Zara Hatke Zara Bachke with Sara Ali Khan. The film has been garnering positive responses from fans and critics and is doing well at the box office.
Aditi Giri, Senior Sub-Editor at News18. She is a Bollywood and Biryani enthusiast. She loves talking to your favourite BTown celebrities, and brings …Read More
Friday evening at the Fairmont Century Plaza had it all — and all for a good cause. “Housewives of Beverly Hills” stars danced on stage with Flo Rida, an Aston Martin was auctioned off for $240,000 and Cinq à Sept held a fashion show, all for the 30th annual Race to Erase MS Gala, a fundraising event dedicated to the treatment and hopeful cure of multiple sclerosis.
Nancy Davis founded Race to Erase in 1993, a year after she was diagnosed with MS.
“I was told 31 years ago I could never walk again and that life as I knew it was over,” Davis shared with Variety at the gala. But over the last three decades, funds raised at the gala have helped lead to 25 medications used to treat MS, raising $56 million for MS research.
“To be here tonight and have the whole Hollywood community behind us — they come every year — it’s so lovely,” Davis said. Later in celebration, she popped champagne on stage with Flo Rida, which made for a joyous evening finale.
Actor David Faustino was also in attendance. His former “Married… With Children” co-star, Christina Applegate, was diagnosed with MS in 2021, but his support began well before that. Of the 30 galas held over the years, Faustino says he has been to 29.
“Another very close friend was diagnosed this year with MS, so it’s becoming closer and closer to me,” said Faustino. “Before, this event was something I came to help make money and support the cause, and they’ve all become family and friends. But now it’s really close to home, so it makes me want to be here even more.”
Singer-songwriter Siedah Garret, backing vocals singer for legends like Michael Jackson and Donna Summer, performed during the evening. Back in 2017, Garret revealed her own MS diagnosis while performing at the Race to Erase Gala.
“It was very freeing and enlightening, and I haven’t looked back,” she told Variety. “I didn’t get the negative attitudes that I thought I would get. I thought I would be known as a ‘sick person,’ but I never got that. I’m here to show what living with MS can look like. And I’m here to make MS my bitch.”
“Housewives of Beverly Hills” star Crystal Kung Minkoff and her filmmaker husband Rob Minkoff attended the event as well. Crystal said she has known Davis for over 15 years and that the event is a constant testament to all of Davis’s hard work and commitment.
Frazer Harrison/Getty Images for Race to Erase MS
Crystal recently attended a celebration at the White House for Asian American and Pacific Islander Heritage Month. “I was on a cast trip, and I was so tired. I didn’t know if I wanted to go,” Crystal said.
Rob interjected. “She was, ‘Should we go?’ And I was like, ‘You don’t miss this, what’s wrong with you!’” he said. “And then she got in trouble for eating on the antique couch at the White House.”
The couple also shared that they were working together on a couple of projects coming out this year but weren’t ready to reveal any details. In addition to Crystal, “Beverly Housewives” stars Kathy Hilton and Denise Richards also showed their support at the gala.
“I know some of the girls are here, I’m excited to see all of them,” said Crystal.
Issa Rae, who plays a pregnant version of Spider-Woman in Spider-Man: Across the Spider-Verse, shared how playing the role changed one of her biggest beliefs.
Calling the role “a little intimidating,” Rae noted how challenging her role was after not having “gone through this experience yet” of being pregnant and highlighting how cool the Jessica Drew character was:
“Thank you so much for your kind words. It was a little intimidating, I’m not gonna lie. I haven’t gone through this experience yet, and to portray someone going through it and also kicking people’s ass was like ‘Whoa!’ And it was jarring to know that this was the version of Spider-Woman that they had chosen. And the more I read about her, the more I was able to become her, I was like ‘Oh, she’s so damn cool and she’s so sacrificial, in a way!'”
Rae described Jessica Drew as “the true essence of a superhero” thanks to her status as a crime-fighting future mother, even explaining that it “challenged her notion” and her beliefs regarding pregnant women being fragile:
“She is the true essence of a superhero in the fact that she is this mom fighting crime, and also, she’s superhuman in that way. So I love playing her, and I hope other moms appreciate her too. And, I have to say she challenged my notion – my sister and friends who have been pregnant over time. Sometimes I’m a bit too fragile with them, like ‘Oh, you can be doing this? Are you gonna be working up until this point?’ And they’re just like ‘Yes, I’m completely fine, I can still operate.'”
She even referenced tennis superstar Serena Williams “competing and playing tennis while she was pregnant,” highlighting women who accomplish feats like that and are taken for granted:
“And I think about Serena competing and playing tennis while she was pregnant and all the women who do the extraordinary while they’re pregnant and are sort of taken for granted in that way, and so I thought that that was nice commentary.”
Rae also discussed the toughest part of playing the role, mentioning the difficulties of “not having a sense of what the space was” when she was recording her lines in the studio:
“And I think for me it was just not having a sense of what the space was. I think it’s one thing to…you’re just using your voice to convey, but for me, so much of it is just like ‘Well, where am I? What exactly am I doing? Who’s to my right? Who’s to my left?’
And while it was tough for her without “the full picture” of what was happening, she looked back on her first time reading with Gwen Stacy star Hailee Steinfeld as one of the more fun parts of making the movie:
“Even in terms of comedy and improving, I just I’m like ‘Oh, I don’t necessarily have the full picture of what this character looks like to comment,’ and so I think when I did have the opportunity to like actually even read with Hailee [Steinfeld], that was so fun and so different, but it just challenges you in a way that I was absolutely up for, and it’s so fulfilling to see what comes out of all the sessions that we had because the filmmakers have such a clear picture in their mind, and it’s cool that they’re obviously adapting to what you give them, so this was a fun process.”
Rae also spoke with Screen Rant at the red carpet event for Spider-Verse 2, highlighting the “severe badassery” that fans will see from her character on the big screen:
“So, I have the distinct honor of playing Jessica Drew, AKA Spider-Woman, and you can expect to just see like severe badassery on-screen. When I first saw the drawing of my character, because, I knew who Jessica Drew was, you know, kind of traditionally, but who Lord and Miller made her be, what she looks like, how she is.”
Continuing to praise Jessica Drew, Rae pointed out how she’s the only web-slinger “who doesn’t wear a mask,” celebrating how cool the character is and how honored she felt to voice her:
“First of all, she’s the only Spider-Person who doesn’t wear a mask, so she’s out here fighting for the Spider-Verse exposed ,she’s not hiding from anything, and I think that’s so cool. She has a badass motorcycle that she kicks ass on, and she’s pregnant, which is an arc that kind of blew me initially, I was like ‘What?!’ and then, the more I kind of sat with it and played her, I just felt honored to take that on.”
Will Spider-Woman Return for Spider-Verse 3?
Warning – the rest of this article contains spoilers for Spider-Man: Across the Spider-Verse.
Issa Rae’s Jessica Drew wound up being a vital part of the Spider-Verse 2 plot, serving as one of the high-ranking members of the Spider Society seen on Oscar Isaac’s Earth-928.
And with her character being only one of countless Spider Variants to take the spotlight in this sequel, the big question now is whether fans should expect to see the expecting mother Jessica Drew back in action for the next go-round.
Considering how she was teetering on both sides of the emotional battle over Miles Morales from start to finish, there’s the possibility she could team up with Gwen again to fight alongisde story’s protagonists.
The future of the titular character of Blue Beetle is all but guaranteed after James Gunn’s DC reboot thanks to one upcoming TV project. Since James Gunn was announced as the new co-head of DC Studios alongside Peter Safran in October 2022, much talk has surrounded the lingering projects still expected to be part of the old DCEU. These films include The Flash, Aquaman and the Lost Kingdom, and most importantly, Blue Beetle.
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With The Flash expected to reshape the DCEU into the new-look DCU, many were left wondering how a film like Blue Beetle would be impacted. Questions arose over how the film’s story would take shape as it is released after The Flash, but crucially whether Xolo Maridueña’s titular superhero would continue into James Gunn’s DCU Chapter One: Gods and Monsters. After Gunn’s announcement of his first DCU slate in January 2023, it became clear that one TV project all but confirms the continuation of Blue Beetle in the franchise after the release of his own solo film.
Booster Gold’s TV Show Surely Means Blue Beetle Will Return In The DC Universe
The project in question is Booster Gold, which James Gunn confirmed to be in development as a TV show in Chapter One: Gods and Monsters. Throughout DC Comics’ history, Booster Gold and Ted Kord – the Blue Beetle before Jaime Reyes – were best friends. They were initially introduced upon joining the Justice League, and have since been portrayed as near-inseparable across many comic iterations. This included their own comic series entitled “Blue & Gold”, which bodes well for Blue Beetle’s DCU continuation due to the character’s friendship with Booster Gold.
While it is worth pointing out that the upcoming Blue Beetle DC film will feature Jaime Reyes’ version of the character, not Ted Kord, the DCU could easily apply Ted and Booster Gold’s comic book relationship to Jaime and Booster. This would fit with James Gunn wanting younger iterations of characters for franchise longevity. While Blue Beetle’s DCU future is unclear, the inclusion of Booster Gold as a TV show provides ample opportunity to pair the two together in the future given the characters’ long comic history of being best friends.
Why Blue Beetle Should Be Part Of James Gunn’s DC Universe (Even Without Booster Gold)
Regardless of a Booster Gold TV show, there are several reasons why Blue Beetle should still be part of James Gunn’s DCU. Firstly, Blue Beetle is a lesser-known character from DC Comics. As is clear with a lot of Gunn’s announcements, the DCU will provide a healthy mix of DC A-list characters with the less popular heroes. Films like Superman: Legacy, the adaptation of “The Brave and the Bold” that will include Batman, and Wonder Woman as part of the Paradise Lost TV show provide the DCU with its flagship characters. However, Swamp Thing, Creature Commandos, The Authority, and even Booster Gold allow for lesser-known DC properties to shine.
Blue Beetle sequels would only further this, with the DCU focusing on another smaller character that has a wealth of intriguing stories and characters. Also, the decision to make Jaime Reyes the main live-action version of Blue Beetle is great for Latin American representation on film. Xolo Maridueña is a fantastic up-and-coming actor, and he should be able to explore the character beyond 2023’s Blue Beetle. All of this, combined with a potential Booster Gold crossover, means that Blue Beetle should not be the end of the character’s DC journey on film and the character will hopefully play an integral role in James Gunn’s new-look DC Universe.
Microsoft could consider pulling Activision from the UK market as one extreme option to bypass the country’s block of its proposed $69bn acquisition.
That’s according to a new Bloomberg report, which states that Microsoft president Brad Smith will meet with UK Chancellor Jeremy Hunt next week to voice his frustration over the Competition and Markets Authority’s (CMA) decision to block the deal.
Microsoft confirmed to the publication that Smith will be in London, where he’s giving a “scheduled talk about the potential of AI and the need for thoughtful regulation of it.”
He’ll also hold private discussions on other issues, “including the proposed acquisition of Activision Blizzard as we remain committed to finding creative and constructive ways to address remaining regulatory concerns,” a spokesperson said.
Hunt previously criticized the CMA’s veto, telling a business conference recently that competition watchdogs must “understand their wider responsibilities.”
It’s claimed that Smith will meet with Microsoft’s legal representatives to discuss the firm’s strategy to counter the CMA decision this week, including “extreme” options such as withdrawing Activision from the UK market, or bypassing the UK order and pressing ahead with the deal.
In theory, if Activision’s operation were moved to another European country outside of the CMA’s jurisdiction, its games could then continue to be sold via a distributor.
Microsoft’s appeal against the UK competition watchdog’s decision to block its acquisition of Activision Blizzard will be heard in court in July.
Microsoft, which is challenging the decision on five grounds, officially lodged its appeal against the CMA’s decision last week, and the case is set to be reviewed by the UK’s Competition Appeal Tribunal (CAT).
We know, we know, talking about audio for video is never as exciting and sexy as talking about cameras and production. That’s doubly true when talking about audio for podcasts and content creation, too. But yet, here we are looking at this new RØDE PodMic USB, and we have to mention it simply because it solves some critical problems in audio-for-video production that we think you deserve to know about.
The RØDE PodMic USB is an ultra-versatile dynamic microphone designed for podcasting, streaming, gaming, voice-over recording, and/or any other on or off-set audio production which you might need for your project. And while it’s pretty similar to other microphones out there, it is unique in its connectivity and ease of use and worth your consideration for the proper setups.
Let’s take a look at this RØDE PodMic USB and see how it might be right for you as it helps to get your setup fully connected.
The RØDE PodMic USB
There’s nothing too fancy here besides a cheap, affordable, and surprisingly quality and versatile dynamic microphone for your video and audio setups. Fully compatible with both Windows and Mac computers, as well as iOS and Android devices, this is a true plug-and-play audio recording option that should offer high-quality portable podcasting or streaming solutions for a wide range of project types.
Here are some key features:
Broadcast-quality dynamic microphone
Analog XLR and digital USB-C connectivity
Fully compatible with Windows and Mac computers and iOS and Android devices
On-board DSP for advanced APHEX® audio processing
Ultra-low-noise, high-gain Revolution Preamp™
Built-in headphone output with volume control and zero-latency monitoring
Integrated swing mount for simple and secure positioning
Internal pop filter for minimizing plosives and internal shock mount to reduce vibrations
Studio-quality external pop filter included
Robust, all-metal construction–incredibly rugged and highly durable
Designed and made in RØDE’s precision manufacturing facilities in Sydney, Australia
There’s also built-in headphone output with volume control and zero-latency monitoring, making it a nice backup option for on-set audio recording or if you’re in a pinch as your main setup. You can, of course, connect this new PodMic USB with RØDE’s full suite of software, including RØDE Connect, RØDE Central, RØDE Capture, and UNIFY.
With an integrated swing mount design, you can secure the PodMic into pretty much any position you desire. Plus, despite its price, it’s quite durable and rugged and should stand strong with heavier use and run-and-gun recording.
USB and XLR connections on the back of the new PodMicCredit: RØDE
XLR and USB Output
However, while designed to deliver rich, full-bodied sound, the key feature of the PodMic USB is its inclusion of both an XLR and USB output for connecting to an audio interface or mixer like a classic broadcast microphone or directly to a computer for plug-and-play recording.
With the digital USB output in particular, you’ll get RØDE’s ultra-low-noise, high-gain Revolution Preamp and powerful APHEX digital signal processing for capturing some great studio-quality sound with ease. Add on top of that a zero-latency headphone output complete with level control, and you’re looking at some seamless recording no matter what the setup.
Another solid option for various audio setupsCredit: RØDE
Specs and Pricing
Ultimately though, this isn’t the first or last quality microphone that we’re going to see from RØDE or their competitors.
But as far as adding some more connectivity and updated features, it’s currently one of the best for the price point and should be great for hybrid content creators looking to record podcast-type projects on the one hand but also fill in on a video project here or there as well.
How do you feel about this new PodMic USB and its connectivity options? Let us know your thoughts in the comments below.
Ariel has always been a plucky, badass protagonist, but the 2023 movie really drives that point home by having her do some of the things that other characters did in the original cartoon. It might be the best overall change between the two versions.
* She tricks the shark that attacks her and Flounder with a mirror so that they can escape. In the cartoon, the shark gets stuck in the ring of an anchor by accident.
* During “Kiss the Girl,” she figures out how to tell Eric her name without anyone’s help. Sebastian just whispers it to Eric in the original.
* She physically fights Vanessa/Ursula to get her voice back. As in, Ariel runs up to her, tackles her, yanks her necklace off, and throws it on the ground. In the cartoon, the necklace falls off Vanessa, thanks to Scuttle.
* And finally, the movie reverses Eric’s and Ariel’s positions during the final fight against Ursula. This time, Ariel steers the boat that skewers Ursula.
April 13, 2023:TMZ publishes photos of Jenner’s black Range Rover in the driveway of Chalamet’s house in Beverly Hills.
April 14, 2023: We have our first People report! A source tells the publication that Jenner and Chalamet “are hanging out and getting to know each other.” People is one of the more reliable sources of celebrity gossip, so this is a pretty big indicator that Kylothée is legit.
April 17, 2023: A source confirmed to ET that this is all real, just weeks ahead of the upcoming Met Gala, which could mark their official debut as a couple. “They are keeping things casual at this point,” the source said. “It’s not serious, but Kylie is enjoying hanging out with Timothée and seeing where it goes. It’s been really fun for her because it feels a lot different than her past relationships. It’s new and exciting for Kylie and she’s having a lot of fun.” How…fun! Neither Jenner nor Chalamet has confirmed the rumors themselves.
April 19, 2023:Per an Us Weekly report, Jenner hopes that her situation with Chalamet will help her move on from her ex and the father of her two children, Travis Scott. A source told the outlet that Jenner has not moved on from Scott yet. “Kylie thinks Timothée is really sweet and she does see potential,” they said. “Kylie knows she and Travis will always be in each other’s lives, and they have an amazing co-parenting relationship. Part of her dating Timothée is in hopes of moving on from Travis, but that hasn’t happened yet. There’s always a possibility of reconciling with Travis at some point.”
Meanwhile, an alleged “Jenner source” tells People that the couple “hang out every week,” but also says, “It’s not serious.” Apparently, the pair has “a lot to chat about,” and the entire Kardashian-Jenner clan wants her to “move on” from Travis Scott. “Everyone in the family is happy and supportive of Kylie dating,” the source said.
May 25, 2023: After a quiet month, Jenner’s black Range Rover SVA is spotted leaving Chalamet’s Beverly Hills home just a few minutes after arriving around 10 a.m.
June 1, 2023: The first Kylothée photos are here! On June 1, Page Six published a series of photos taken of Chalamet and Jenner over throughout the month of May, including photos from a casual BBQ attended by the alleged couple’s sisters Kendall Jenner and Pauline Chalamet. In a photo from a separate occasion, Jenner and Chalamet seemed to coordinate tie-dye outfits while out for a stroll. See all the pics here.
Paparazzi also told Page Six that the Kylie Cosmetics mogul spends “upwards of six days a week” at Chalamet’s Beverly Hills home. “Kylie and Timothée have been spending much more time together and they’re growing much closer as the days go by,” a source tells Us Weekly around this time. “Some of Kylie’s family members have met Timothée including Kris and Kendall. They really like him and think he’s different from anybody Kylie has dated in the past,” the source continued. “He has a great sense of humor, and he makes her smile which is the most important thing to them. They love seeing how happy she is and absolutely approve of them dating.”
Legendary actor Tom Hanks admits that he’s not fond of every movie he’s made, but there’s one film he was a part of that he feels deserved more positive attention than it got at the time of its release. In a new interview with the New Yorker, Hanks addressed his career, getting into the subject of the reactions to his movies. He lamented how there are certain movies that may have been ahead of their time, as in they were hated by many upon initial release only to become much more beloved many years later.
“Where that movie lands twenty years after the fact,” as Hanks explains. “What happens when people look at it, perhaps by accident. And a great example of this is It’s a Wonderful Life, which was made [in 1946] and disappeared for the better part of, I’m going to say, twenty years, locked up in a rights issue. It wasn’t even viewed at the time as being a commercial hit. Enough people liked it, so it was nominated for Best Picture.”
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With It’s a Wonderful Life, the film didn’t really get its iconic status until after its copyright had expired in 1974, putting it into the public domain and resulting in frequent airings on television. The circumstances were different with Hanks’ film That Thing You Do!, but he similarly feels that this movie was released too far ahead of its time, noting how it was another film that was late to receive the success it deserved.
“For me, it happened on a movie that I wrote and directed calledThat Thing You Do!,” Hanks says. “I loved making that movie. I loved writing it, I loved being with it. I love all the people in it. When it came out, it was completely dismissed by the first wave of vox populi. It didn’t do great business. It hung around for a while, was viewed as being some sort of odd, kinda quasi-ripoff of nine other different movies and a nice little stroll down memory lane.”
Hanks added, “Now the same exact publications that dismissed it in their initial review called it ‘Tom Hanks’s cult classic, That Thing You Do!’ So now it’s a cult classic. What was the difference between those two things? The answer is time.”
Released in 1996, That Thing You Do! serves as the feature writing and directorial debut for Hanks. The film also features Hanks in a supporting role as the manager of a one-hit wonder pop band in the 1960s, chronicling the fictional group’s rise and fall. The movie gets its title from the hit song released by the band, and though critics weren’t very kind on the movie, the “That Thing You Do!” song earned the film nominations for Best Original Song at the Oscars and the Golden Globes.
Along with Hanks, the movie starred Tom Everett Scott, Liv Tyler, Jonathan Schaech, Steve Zahn, and Ethan Embry.
Gruesome tales of grisly murder. Horror stories of kids in cults. False confessions and authentic admissions.
True crime has taken over the documentary space, proving a reliable audience attractor for streaming platforms, network and cable channels. While it’s the most popular genre within nonfiction programming broadly speaking, whether that will translate to success with Emmy voters remains an open question. One thing’s for certain: there’s no lack of contenders — twisted tales dripping with blood.
Netflix leads the way with multiple suitors, among them Conversations with a Killer: The Jeffrey Dahmer Tapes, the grim story of one of America’s most notorious serial killers, built largely around recorded interviews between Dahmer and one of his young defense attorneys in the early 1990s. It’s directed and executive produced by Oscar-nominated and Emmy-winning filmmaker Joe Berlinger, one of the leading figures in documentary.
“As a storyteller, I thought the tapes provided incredible insight into Dahmer and this unique characteristic of him actually being very forthright,” Berlinger notes, contrasting Dahmer’s open admission of his lurid crimes to the obfuscation of serial killers Ted Bundy and John Wayne Gacy, subjects of earlier Berlinger docuseries for Netflix. “Both of those serial killers [Gacy and Bundy] were very unreliable narrators. So, you had to separate the truth from the bravado and the false information.”
Berlinger has directed films on many subjects, from the Armenian genocide to Metallica, but he’s become closely associated with true crime, beginning with his 1992 film Brother’s Keeper, co-directed by Bruce Sinofsky. He sees no reason the topic should be deemed less worthy of serious scrutiny than any other socially relevant subject.
“Unfortunately, serial killing is part of the human condition,” he says. “Doing bad things to other people is part of the human condition. People do wonderful things and people do terrible things, which is why I think we need to tell these stories, and why the criticism about not telling these stories I scratch my head over. Of course, you have to do it responsibly. You have to think about the victims. But greed, love, ambition, killing, I mean, these are all part of the human condition. So, why do we say we can’t tell these kinds of stories? It’s part of who we are, unfortunately.”
The Netflix Emmy contender Murdaugh Murders: A Southern Scandal, might be said to involve equal parts greed, love, ambition and killing. The three-part series directed by Jenner Furst and Julia Willoughby Nason takes on one of the most sensational murder cases in recent years, one that saw prominent South Carolina attorney Alex Murdaugh accused in the shocking deaths of his wife and son. In March, he was sentenced to life in prison for shooting his wife with a rifle and blasting his son with a shotgun.
Nason says true crime resonates with audiences in part because of the violent nature of American society.
“Everyone can relate to it unfortunately, with these mass shootings, et cetera,” she says. “I think that’s why true crime is so reliable as a medium of entertainment in the documentary golden age.”
One of the strongest true crime-related contenders comes from acclaimed filmmaker Nanfu Wang, who has twice been shortlisted for the Academy Award. She made her first foray into the genre with HBO’s Mind Over Murder, a six-part series about the ‘Beatrice Six’ who were convicted of murdering a Nebraska woman in 1985. None of them had anything to do with the crime, yet five of the six confessed under pressure from an investigator and a police psychologist who used dubious methods to implant false memories of them participating in the murder. Even after they were exonerated, some of the Beatrice Six still felt convinced they had killed 68-year-old Helen Wilson.
Mind Over Murder
HBO
“To me, it has always been a story about the malleability and fallibility of memory,” Wang says. “We’re looking at it through a criminal case where six people were wrongfully convicted for murder, but yet many of them remembered and still have a memory of being at the murder. And we look at how false memory formed and what it takes to change people’s minds.”
MTV Documentary Films competes for Emmys with The Fire That Took Her, the hideous story of Judy Malinowski, an Ohio woman and mother of two who became romantically entangled with a man named Michael Slager. During an argument outside a Speedway station, he soaked her with gasoline and set her ablaze.
Malinowski, horribly burned, survived for nearly two years; Slager is serving a life sentence for killing her, the key evidence provided by Malinowski from beyond the grave. In the film directed by Patricia Gillespie, Malinowski’s mother explains that authorities “approached Judy about testifying to her own homicide. It was a longshot because it had never been done.”
One of the thriving sub-genres within true crime focuses on cults and cult-like institutions. The Netflix Emmy contender Keep Sweet: Pray and Obey documents the case against Warren Jeffs, leader of the Fundamentalist Church of Jesus Christ of Latter-day Saints (FLDS), an offshoot of mainstream Mormonism that clings religiously to plural marriage. Jeffs himself took at least 78 wives, two dozen of them under the age of 17.
Keep Sweet: Pray and Obey
Netflix
Jeffs assumed command of the church after the death of his father, Rulon Jeffs, and wielded total control over his flock. In the four-part series directed by Rachel Dretzin and Grace McNally, one ex-FLDS woman says, “In our minds the police, even the President of the United States, had no authority over us. Warren Jeffs is our president; he was the prophet. And how could you place a human over god?”
Hulu’s Stolen Youth: Inside the Cult at Sarah Lawrence, delves into a bizarre story with origins at the titular elite private college in Yonkers, New York. In 2010, Larry Ray, recently released from prison, moved into his daughter’s dorm at Sarah Lawrence. That was odd enough, but things only got weirder as Ray began conducting therapy sessions with his young dormmates and in no time had gained psychological hegemony over several of them.
Says filmmaker Zach Heinzerling, “Any number of individuals from very different backgrounds and very different circumstances ended up becoming sort of absorbed by his manipulative control.”
Ray convinced one his roomies that she had engaged in an elaborate poisoning scheme. To pay for her ‘crimes’, he induced her to become a high-priced call girl, with him as the main beneficiary of her millions in earnings.
Ray filmed many of his encounters with his vulnerable charges, during which they admitted their supposed misdeeds. He gave the videos to Heinzerling, believing they established his innocence.
“He labeled them as confessions. Actually, they were forced interrogation sessions — a form of gaslighting, manipulation and control which was very obvious to anyone listening to them,” Heinzerling says. “The great irony is that all of these recordings that Larry either made himself or had the survivors make ended up making it extremely easy for the government to convict him.”
True crime docs go over well with viewers, but Emmy recognition has been fitful. Wild Wild Country, the 2018 Netflix multi-parter about a cult-like compound in rural Oregon founded by Indian guru Bhagwan Shree Rajneesh, won Outstanding Documentary or Nonfiction Series. Mega-hit Tiger King two years later earned six Emmy nominations but won zero. It was a similar story for last year’s The Tinder Swindler, a huge success for Netflix, which claimed five nominations but came away empty.
Read the digital edition of Deadline’s Emmy Comedy issue here.
Many true crime films and series get no Emmy love at all. That was the case for HBO’s I Love You, Now Die, a 2019 docuseries about the notorious case of Michelle Carter, a Massachusetts teenager charged with urging her depressed boyfriend to take his own life. The series, directed by acclaimed true crime filmmaker Erin Lee Carr, earned excellent reviews, but that didn’t result in a single Emmy nomination.
“It’s difficult for true crime stuff to get nominated,” Carr acknowledged at the time. “And I hope that that changes.”
Whether it has changed will become more evident once this year’s Emmy nominees have been revealed. Nason, the co-director of Murdaugh Murders, sees no inherent Emmy bias against true crime and believes the genre deserves respect as substantive, not just entertaining.
“A lot of these true crimes have uncovered huge amounts of injustice,” she says. “And these documentaries essentially are challenging the system at play, challenging police departments, court systems, prison industrial complexes, domestic violence. I do think it has a huge part in social justice in a lot of ways, and that is something that really should be honored by any award vehicle.”
Sports documentaries are a fascinating genre. My particular favorites are generally the deeply motivating and inspirational rags-to-riches stories. In director Greg Romano’s Trials to Triumph, we witness a man go through both to gain a deeper sense of meaning. Written by Dan Ratner, the film covers the life of Freddie Stevenson, who has charted a career from Little League football to professional football and then, finally, a motivational speaker.
The middle child of Terrence and Sylvia Stevenson, the athlete witnessed some really rough patches on his way to success. At an early age, Stevenson’s father goes to prison for drug trafficking crack. During those years, his family was functionally homeless. A story is told concerning his mother and a McDonald’s hamburger. She had just enough change to buy a full-size McDonald’s hamburger. After being forced to find an extra nickel for tax, she then took the burger and split it five ways amongst her children. While her kids tried to share bits of their burgers with her, she refused. In her mind, it was far more important that her children were nourished than for her to eat. The woman was prepared to sacrifice a lot for her kids.
“…Stevenson’s father goes to prison for drug trafficking…”
It must have been quite a relief for the Stevenson family when their husband/father was released from prison. The patriarch attributes his early release as an act of God, and I find no reason to argue with the man about that. This enabled him to serve his best role as the man who encouraged and supported his son’s career in football. He cheered for Stevenson from little league to the pros. That would have been enough if that had been the extent of Freddie Stevenson’s story. Unfortunately, he ended up not playing pro for long due to rule changes concerning fullbacks. This unforeseeable event creates a new dip and puts Stevenson on a great path to success, just not as a football player.
Trials to Triumph is a solid and emotional sports documentary. It captures the best aspects of the talking head style. It wisely limits the speakers to only those who can chart the course to some version of success, even if it isn’t as a professional athlete. Overall, the film is quite heart-warming, and I encourage anyone who needs a pick-me-up to check it out. While it won’t revolutionize the world, it is a textbook example of how to craft a life-affirming sports documentary. For that alone, it’s worth your time to watch it.
Oscar Isaac is already imagining the next Spider-Verse film and has a role for Pedro Pascal.
The Moon Knight star joined the cast of Spider-Man: Across the Spider-Verse voicing the role of Miguel O’Hara, also known as Spider-Man 2099, a Spider-Man from an alternate universe.
When talking to British GQ, Isaac said that production of the film is already “brilliant at finding the right person for the right character” but suggested the Last of Us star voice a character in the next film.
“Let’s find something for him. He should be a Spider-Person, like a cranky, old Spider-Person,” he told the magazine.
In the same interview, Isaac talked about voicing Miguel O’Hara and what he admires about the character.
“He’s got this particular unique quality to him, but there are lots of things about him that I think are very surprising and make him such his own thing,” he said. “The fangs and claws and this violence that’s simmering underneath at all times? He’s just a really interesting character.”
Isaac also talked about his experience voice acting versus regular acting.
“You only have your voice to be able to express a lot of what’s going on. There’s more collaboration involved because it’s your voice, it’s the animators, it’s the design, it’s all these things coming together to create the character,” Isaac explained. “There’s something beautifully communal about putting that together and just adding one element and then seeing it all come together. It’s just such a beautiful work of art.”
He continued, “The art in this thing is so incredible, but specifically with Miguel. The way that he transforms visually and becomes more feral as things fall apart, I just thought, was so, so amazing.”
As of June 2, 2023, YouTube has reversed that decision: The video giant announced that 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.”
Why is YouTube making this change? The Google-owned service, in an unsigned blog post Friday, tried to explain it this way: “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 also noted, “As with any update to our policies, we carefully deliberated this change.”
With the 2024 election season underway, according to YouTube’s latest blog post, “The ability to openly debate political ideas, even those that are controversial or based on disproven assumptions, is core to a functioning democratic society — especially in the midst of election season.”
That said, YouTube said its other election misinformation policies remain in place, including those that prohibit content “aiming to mislead voters about the time, place, means, or eligibility requirements for voting” as well as false claims that could “materially discourage voting, including those disputing the validity of voting by mail” and videos that encourages others to interfere with “democratic processes.”
“Here’s what isn’t changing: We are ensuring that when people come to YouTube looking for news and information about elections, they see content from authoritative sources prominently in search and recommendations,” YouTube said in the blog post. In the wake of the 2020 U.S. election, YouTube said, it discovered that videos from authoritative sources like news outlets represented the most viewed and most recommended election videos on YouTube.
Costume designers comb through reams of fabric, scour the racks in thrift stores, and dig through bins in flea markets in search of just the right textures, styles and flourishes to help bring characters to life. For some productions, this work can be contemporary and with a limited cast. For others, it can mean hundreds of period costumes, thousands of pieces and years of preparation.
At Variety’s inaugural “A Night With Artisans,” senior artisans editor Jazz Tangcay moderated a panel of costume designers from a wide range of television series, reminding the audience of the guild’s ongoing fight for pay equity, “these shows would be naked without you.”
Many of the shows this season were in production during the pandemic, with tight COVID protocols and restrictions. Camille Benda, costume designer for Apple TV+ series “Bad Sisters,” enjoyed working with her five leading women in a unique office outside of the set. “The fitting room was actually in a shipping container, but it kind of felt like a little spaceship bubble that we could go to and talk and spend a couple hours really going through the characters.” These conversations gave them the opportunity to really dig into the individuality of each character.
Working primarily in 1970s Los Angeles, costume designer Denise Wingate enjoyed the amazing costume houses as she put together the looks for Amazon’s “Daisy Jones & the Six.” She did run into a challenge when it turned out there were three other huge shows taking place in the ’70s also in production: “So we’re fighting over things.”
But that didn’t stop her. “Every single weekend, every Saturday, every Sunday, for a year straight, I went to all the flea markets.”
Wingate also found a lot of great resources online, which contributed to more than 1,500 costumes ranging from the 1960s to the ’90s and filming from New Orleans to Greece. She came to learn that an even more valuable resource than money was time. “Having the time to curate a look and get it perfect and having time with the actors to really explore the characters… It was a real gift.”
Laura Jean Shannon, designer of the supersuit on Amazon’s superhero series “The Boys,” found budget constraints added extra pressure, but praised her team. “I’m only as good as the company I keep. It’s imperative that you keep, you know, a healthy environment for your team.” Six years ago, when they designed superhero costumes on a “TV timeline and budget,” she found the challenge “kind of outrageous.” But in the end, it gave her time the opportunity to innovate and find ways to create completely customized suits. “We reworked the way things work!”
Costume designers, especially working in television, have to be able to anticipate new challenges that could come along while episodes are still being written. Lyn Paolo, costume designer for Netflix series “Queen Charlotte: A Bridgerton Story,” began asking early on whether there would be a coronation scene for the new king and queen of England. Without waiting for confirmation, Paolo researched and started placing orders.
Paolo remembered, “The production manager kept calling me saying, ‘Why are you buying all that fabric from Paris?’ I was like, I think we’re gonna need all this gold fabric. Please believe me.” When they got the official word, she decided to “go for the gold.” Literally. “If you look at the original portraits of George and Charlotte, they’re covered in gold.”
Montgomery also had a lot of fun with details in “What We Do in the Shadows,” particularly when it came to designing for vampire Nadja (Natasia Demetriou). In the Season 4 opener, Nadja returns to Staten Island from a season in the U.K., so Montgomery “just stole from U.K. designers who I love.” Namely, Vivienne Westwood and Alexander McQueen’s tartan collection.
One dress Nadja wears later in the season involved a black and red silk with a yellow stripe. But the fabric they found didn’t have the yellow stripe. “My wonderful team, I convinced them that what we needed to do is sew a yellow ribbon onto all of these maybe 30 yards of fabric. And bless them, they did.”
On the HBO series “The Last of Us,” based on the hit video game, the world stopped in 2003 when a pandemic wiped out most of civilization. As a costume designer, Cynthia Summers had to consider what this would mean for characters living 20 years later. “The world’s stopped in 2003. And specifically, we started our story in Austin, Texas. So that was where we began, and that’s where everything ended.”
As for clothing characters would wear in this world, they had to consider, “Anything after that was black market, it was 2003 or prior. It was also what would last through a pandemic — what would last on a person’s body, traveling across North America and having to go through all these horrible things, living out in the wild.”
They had to remain faithful to the game so that fans would be happy, and they had to consider how clothing would break down over multiple episodes. So the team assembled collections of 30 versions of every costume for every character, from leads to background.
Movement was an important part of the design for Paramount+’s “Grease: Rise of the Pink Ladies,” as Samantha Hawkins needed to create costumes the actors could dance in. “It’s a lot of putting gussets in the right places when you are unlucky enough to have time to do builds,” she explained.
She also recalled the specific challenge in Episode 9, which involved paper doll costumes. “You want them to look flat and not move, but then the choreographers are going in with arm raises every 10 seconds. It’s a lot of fitting, figuring it out and what you can do to create a look that still has movement,” she said. “And then you know, we didn’t have time to build looks for every dancer on screen. So we did use a lot of vintage, and a little bit of contemporary, but the vintage, we reinforced the seams beforehand… The build team was just fabulous to get everything done.”
Marina Toybina (“Beauty & the Beast: A 30th Celebration“) expressed the importance of confidence and building a team that can complement the others well. In designing the costumes for a classic, beloved story, she knew she faced a particular challenge and a lot of expectations. “I have to really have that belief in strengthening myself as a designer and creator and a leader, to then guide my team,” she said. “A lot of it comes with a need to have self-confidence.”
Toybina added, “As a designer, you need to know your role, you need to know your weaknesses, because then you have to make up for it in your team. And make sure you’re surrounded with the people that can help you execute. And being honest, at the end of the day, I can only deliver so much without killing my team.” She emphasized one vital point: “That’s a conversation we all need to have. Toxic environments, toxic labor and creativity, you can only get the best out of all of us is if we’re in the right space, and I have my entire team in the right mental space to create the most magical place possible.”
The voice of the WGA was represented loudly in Austin at the ATX TV Festival with various panels informing attendees about the issues of most importance to writers in the stalled negotiations with studios, like AI and staffing minimums—a set minimum number of writers that a series has to employ—as well as why production shutdowns during the ongoing strike are an important part of their fight for a fair deal.
On Saturday, Deadline spoke with WGA negotiating committee member Greg Iwinski following his discussion of the writers strike alongside Julie Plec and Zoanne Clack on a panel hosted at Stateside at the Paramount. Iwinski has been a writer on Last Week Tonight With John Oliver and The Late Show With Stephen Colbert.
DEADLINE: There have been questions regarding the need for production shutdowns. Can you share why this is important?
GREG IWINSKI: Nobody is happy or enjoys that productions are shut down because we want to be back at work and making stuff. There’s been an incredible amount of solidarity and support from the Teamsters and IATSE and them saying, ‘We will honor your lines.’ We want this to be done as soon as possible so that all 11,500 writers and the Guild are back to work, and so we can get back to full production as an industry.
We believe the fastest way to do that is to close the pipeline of production so that— although it is painful and we acknowledge that it’s awful— the hope is that it’s a sharp, quick, fast pain now so that we do not have a prolonged thing later. We want the strike to be over tomorrow and so this is hopefully moving that forward faster.
DEADLINE: There are below-the-line workers who are vocal about losing out on jobs and not being able to support their families by choosing not to cross those lines. What do you say to them?
IWINSKI: The experience that I’ve had out on the line is an incredible amount of solidarity, but also an ability and a willingness to work with those people who are honoring our picket lines, to try to find the ways to inflict the most damage to the studio pipeline while also inflicting the least amount of damage to the crew. If there’s a way to get everybody paid but also stop production, we will always aim for that because those people are not the people we’re trying to hurt.”
DEADLINE: Staffing minimums is one of the WGA’s asks that has triggered a lot of discussions. Some believe that if someone like Taylor Sheridan can write TV shows on their own, others should have the right to do so too. What is your opinion on this?
IWINSKI: I mean, there are like 10 of those shows so it’s very interesting to try to set the new standard for 11k writers for 10 shows run by 10 single people. I don’t think that that’s a representative or fair way to negotiate our contracts based on what like .001 percent of our members are doing. I think it’s important to say that writing is a collaborative form, especially television writing as opposed to screenwriting which leads to a collective voice.
In late-night writing, I’ve been in many rooms where the collective voice of the room is the voice of the show and that’s incredibly important. So we not only want to protect writers who won’t be powerful enough to demand a staff when they’re told there’s nobody there. We want to maintain the integrity of a writers’ room that has led to all the television that people have known and loved previously.
DEADLINE: Would the WGA be willing to negotiate on minimums?
IWINSKI: We haven’t even begun negotiating because they have not responded. So my position and I think the Guild’s position would be that there’s nothing to talk about in terms of negotiating numbers because they haven’t ever responded to our initial thing. So we’re not disagreeing over what it should be. They don’t want to talk about the concept at all.
DEADLINE: There have been many themed pickets, and photos shared on social media have received some negative attention because members and supporters are having fun. How do you feel about that?
IWINSKI: I think that to be critiquing people trying to find joy in a hard situation is an incredibly privileged position to stand in. As somebody who was out marching in 2020 and had marched many times before that to ask the police to stop murdering Black men like myself, I think the idea that you cannot find joy in the solidarity of fighting for your own dignity is a position that’s out of touch with reality.
“Talking to him you feel how much he loves literature and stories,” Ms. Beer said, adding that “after reading the script together we will watch movies and he will talk about books that refer to our work.”
The 28-year-old actress, who answered questions via email while serving on a jury at Cannes, said Mr. Petzold created a “very inspiring working atmosphere” on set.
“Christian tells us his ideas about the scene, maybe other things that he was thinking of that fit to the atmosphere and situation,” she said, adding, “Every thought or idea is welcome.”
Anton Kaiser, of Schramm Film, the Berlin-based production company behind “Afire” and 12 of Mr. Petzold’s previous films, said Mr. Petzold likes to shoot in the summer and edit in the fall, which means that his films tend to be ready in time for the Berlin festival, which is held in February.
“Each film of Petzold’s is recognizable, but each new film is also a step forward,” Carlo Chatrian, the Berlin festival’s artistic director, said in a phone interview.
“They are cerebral, but they are not heavy, especially the last two,” he added, referring to “Afire” and “Undine,” both of which he programmed at the festival, as films with a note of humor that is new for the director.
“I’m happy, on one hand, to be able to support Christian Petzold as an auteur and as an artist,” Mr. Chatrian said. “At the same time, I’m happy when his films can travel, because I think it’s a pity that he is not enough known outside Germany.”
The MCU has seen mixed results in its Disney+ shows with WandaVision, She-Hulk: Attorney at Law, and everything in between, but Secret Invasion is already building anticipation thanks to its story and its cast.
Could Secret Invasion Set New MCU Disney+ Standard?
With all that being said, it’s time to look at a few reasons why Secret Invasion could wind up being the best MCU series to debut on Disney+ to date.
Secret Invasion Boasts Superstar Cast
Marvel Studios
While the MCU is known for having the top stars in all of Hollywood to drive its shows and movies, Secret Invasion takes that status to a level never seen in any Disney+ show before.
These actors boast a combined 23 Emmy nominations (including four wins) and five Oscar nominations (including one win), making this cast the most decorated set of actors to ever join forces in an MCU Disney+ show.
Just based on acting talent alone, the stage is set for Secret Invasion to boast some memorable MCU performances from top to bottom.
In the June 2008-January 2009 comic storyline, written by Brian Michael Bendis, Skrulls invaded Earth by shapeshifting into some of the most popular Marvel characters in existence, all in an attempt to claim Earth as a new home. But for the human residents on Earth, they are unaware of the Skrulls’ existence until it is far too late.
The Skrulls spend years replacing powerful leaders and politicians (a plot point already rumored to be included in the Disney+ series), allowing them to take over the world’s infrastructure from the inside. And safe to say, Earth is ill-equipped to fight back once the alien invaders plant their stake in the highest outlets possible.
This led to major repercussions across the entire Marvel Comics universe for years following the event, which could well be replicated in the MCU if the show plays its cards right.
The MCU’s Secret Invasion has a chance to show just how long the Skrulls have been on Earth by the time the series starts, with many fans waiting to see which of their favorite characters will be revealed as imposters.
Clearly, the potential ramifications for this series are catastrophic.
The MCU Tackles Spy Thriller Themes
Marvel Studios
While the MCU has done a top-notch job with its more cosmic stories (Thor) and its magical/Multiversal adventures (Doctor Strange), the franchise is always at the top of its game when it focuses on ground-level heroes and plotlines.
After all, fans still look at a movie like Captain America: The Winter Soldier as one of Marvel Studios’ greatest accomplishments, if not its greatest ever.
Why is that? The story becomes a full-blown political thriller as Steve Rogers and Natasha Romanoff learn that they can’t trust anybody within SHIELD, which was revealed to have been infiltrated by HYDRA over 70 years prior.
The intrigue and the real-world implications that come from projects like this always seem to bring viewers in more than the other-worldly plot threads, setting things down to Earth and bringing a new level of intensity.
Secret Invasion will bring those same grounded stakes with Fury and Talos always looking over their shoulders for who could be sneaking around looking like one of their closest companions.
And with six episodes centered full-time on these themes of secrecy, mystery, and intrigue, Marvel has a real shot to deliver something with emotion and consequences through the MCU’s Skrull invasion.
Isolated Story With Sparce Cosmic Teases
Marvel Studios
Just as it does with thriller-style themes, the MCU usually plays out well when dealing with more isolated stories that are contained and kept fairly separate from the greater MCU.
Because of the severity of the Skrull invasion, Nick Fury and Talos won’t have any mental capacity to deal with anything else in the wider Marvel landscape as the aliens take over the world’s infrastructure.
But the very nature of this show, along with the history of the MCU, still means that Secret Invasion will be intricately woven into the fabric of the larger MCU storyline.
Fury and Talos will reunite for the first time after Fury’s efforts in space from Spider-Man: Far From Home, tying into the cosmic side of the Marvel universe even though the plot of this series will likely take place exclusively on the MCU’s home planet.
But looking at the MCU’s future, it will also play an important role in setting up 2023’s final theatrical movie, The Marvels, with a chance that the Skrulls could even play a role in that sequel in the same way they did for the first movie.
Speaking of that first movie, Emilia Clarke’s G’iah will also provide a tie back to 2019’s Captain Marvel as she reunites with her father, Talos, with the pair tackling much more adult challenges as a rogue sect of Skrulls assert their power on Earth.
And while Secret Invasion is sure to keep fans on a singular path and focus on the Skrull invasion, there are sure to be a fair share of greater MCU connections.
Potential For Epic MCU Cameos
Marvel Studios
Due to the Skrulls’ ability to shapeshift into anybody that they see, and given the way the rogue group of aliens is set to infiltrate Earth, many fans are hoping to see some of the MCU’s biggest names replicated and simmed in Secret Invasion.
Looking at that idea realistically, it seems a bit far-fetched to expect heavy hitters like Robert Downey Jr. (Iron Man) or Chris Evans (Steve Rogers) to come back, although there could be other big names on the table.
Considering how the series will dive into many of the government’s biggest secrets, SHIELD personalities like Natasha Romanoff or Clint Barton could be faces that the Skrulls go after to help gain access to certain information.
There’s also a chance that some fan-favorite characters from years past could be revealed as imposters that have been on Earth for a long time, with many believing Don Cheadle’s War Machine or Martin Freeman’s Everett Ross to be options in that regard.
Additionally, many still have hopes that Chloe Bennet will reprise her role as Daisy Johnson from Agents of SHIELD in the series, as she was a big part of the Secret Invasion story from the comics. And while Bennet has repeatedly denied being involved with the show, there’s no way to definitively count her out.
All of those don’t even count the idea of the Defenders being seen, or even some of the more unusual MCU heroes like Rocket Raccoon or Groot, which the Skrulls may use for even more discretion.
And while it will all depend on the MCU actors’ schedules and how much money Marvel was willing to shell out for cameos, the chance to see some of these stars be used in the Skrull War is too good of an opportunity not to think about.
Characters and Story Above Action/VFX
Marvel
More so than almost any Disney+ show in the MCU to date, Secret Invasion looks to focus on other storytelling devices in the MCU apart from action sequences and VFX-heavy special effects.
Of course, the series won’t be completely devoid of VFX altogether, as fans have already seen numerous instances of Skrulls shapeshifting into Earth’s natives in their quest for planetary domination. There have even been some new powers in trailers that will appear in the MCU for the very first time.
But at its core, Secret Invasion will look to focus on character development and a grounded, real-world story – very much the same way other MCU projects like the Captain America trilogy did.
Nick Fury will finally get to take a leading role in the MCU after 15 years as a supporting character, naturally leading to a more down-to-Earth story as he uses his spy knowledge to find out the truth about the Skrulls.
And while superpowers are what allow the Skrulls to change appearances, the core plot thread will focus on deciphering who’s on which side of the battle and learning why each side is doing what they’re doing.
For even as good as the MCU is at telling fantastical stories, this diversion for Secret Invasion will only help it to be one of the best stories Marvel Studios has ever told.
Director Andy Muschietti and producer Barbara Muschietti have spilled a few more details about The Flash, revealing that there are still plenty of surprises in store and declaring that the cameos were planned as a way to “honor the legacy of DC.” Speaking with Collider, the Andy Muschietti promised that, despite all the leaks, screenings, and revelations that have happened (including some from himself), there is still a lot for audiences to look forward to.
“If you see the movie on the 16th or after you’ll notice that there’s a couple of surprises there that we wanted to leave for the release of the movie, just to avoid any kind of possible leaks and stuff. So, there’s a couple more surprises there.”
The Flash will unleash the DC multiverse on the big screen, with the chaos reportedly leading to all manner of unexpected, super cameos. Producer Barbara Muschietti goes on to reveal that they got a big “yes” from every actor they turned to for a cameo role. But would have had even more had time permitted…
MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
“No, we had a yes on absolutely everybody we reached out to. The issue was time. We wanted to give each of these cameos time for people to have the time to enjoy them. So we had to cut down the list, which was very long. But everybody we approached, their estates and the living people, they were game because they understood what we wanted to do, which was to honor the legacy of DC.”
The Flash Will Offer Even More Surprises in Its Home Release
Warner Bros. Pictures
Believe it or not, The Flash will offer even more surprises when it’s released on Blu-ray, with Andy Muschietti revealing details of deleted scenes and how they strived to cut the DC outing down from a four-hour runtime due to all the improvisation.
“The first thing is, I like to shoot a lot and I like to have options, and depending on the actors I’m working with, we have more or less material. In the case of my work with Ezra, we had an impossibly long list of options because Ezra is a phenomenal actor, gives you a lot, and we did a lot of improvising that led to the scenes being longer than expected and ended up with a four-hour movie, basically.”
Thankfully, we can expect to see this material in the home release for The Flash, with the filmmaker with an excited “You will!” when asked if it would appear as deleted scenes on the eventual Blu-ray.
Worlds will collide in The Flash when the superhero uses his powers to travel back in time to change the events of the past. However, when his attempt to save his family inadvertently alters the future, he becomes trapped in a reality in which General Zod has returned, threatening annihilation. With no other superheroes to turn to, the Flash looks to coax a very different Batman out of retirement and rescue an imprisoned Kryptonian — albeit not the one he’s looking for.
Starring Ezra Miller, Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú, Kiersey Clemons, Antje Traue, Ben Affleck, and Michael Keaton, The Flash is scheduled for release on June 16, 2023.
Warning: After the first few paragraphs, the below article contains some spoilers for the finales of The Marvelous Mrs. Maisel, Succession, Barry, and Ted Lasso.
It’s been a hell of a week for finales on TV.
In the past six days alone, viewers have said goodbye to Prime Video’s The Marvelous Mrs. Maisel, HBO’s Succession and Barry, and maybe Apple TV+’s Ted Lasso, whose Season 3 finale aired last night. And while there’s been no official confirmation that Ted Lasso in particular is gone for good, there’s been plenty of speculation, with star and executive producer Jason Sudeikis saying in a previous interview that Season 3 is “the end of this story that we wanted to tell, that we were hoping to tell, that we loved to tell.”
Regardless, that’s a lot of closers in one week, and fans are saying goodbye to several touchstones of the current prestige TV landscape.
It’s wild to think that TV fans are about to lose The Marvelous Mrs. Maisel, Succession, Barry, and Ted Lasso all in the same week. pic.twitter.com/GdYmuwvdFv
these shows meant so much to me. they all aired over a pandemic where we were all traumatized in our own way and they brought us comfort and distraction. i’ll miss them all SO MUCH.
Ted Lasso, Succession, Marvelous Mrs. Maisel and Barry all ending at the height of the writers strike. The writers really setup a nice cliff hanger on us huh? pic.twitter.com/wKpUFqbUec
Needless to say, fans have been sharing their sentiments on the conclusions of these four beloved shows. Here’s your final spoiler warning before we delve into these series finales.
4 minutes. That’s all Midge had to launch her into stardom. The lighting change in this shot is mesmerizing. The Marvelous Mrs. Maisel crew landed the plane with staggering deftness. And it’s shots like these that elevated an already great show. pic.twitter.com/TGXCLg5ws2
Prime Video released the finale of The Marvelous Mrs. Maisel on May 26, where Rachel Brosnahan took her final bow as the titular role. While fans enjoyed the closing scenes between such characters as Midge Maisel, Susie Myerson (Alex Borstein), and Lenny Bruce (Luke Kirby), they particularly raved about Midge’s four-minute standup routine on The Gordon Ford Show.
I can’t believe The Marvelous Mrs. Maisel is over — but what a satisfying (and emotional) finale! Those four minutes had me in tears.
And Barbra Streisand’s “I Stayed Too Long At the Fair” was perfect.
I’ve had mixed feelings about this whole season of #TheMarvelousMrsMaisel, finale included. That said:
-That “four minutes” set made me a little misty-eyed, can’t lie -The fortune cookie scene had me absolutely melting! -Give Rachel Brosnahan & Luke Kirby the Emmys now, please! pic.twitter.com/GnMFtxF87n
HBO, meanwhile, had an epic, action-packed Sunday night with the back-to-back series finales of Succession and Barry.
Succession delivered an operatic conclusion for the Roy family in the 90-minute finale, in which Tom Wambsgans (Matthew Macfadyen) was ultimately named CEO of Waystar Royco. Tom as the new CEO sparked mixed reactions on social media, with some fans comparing the choice to the Bran Stark/Daenerys Targaryen ordeal in Game of Thrones.
We just witnessed history. Not since Breaking Bad have I been this satisfied with a finale, so kudos to the masterful writing on this show. I am truly shook & absolutely astonished at how perfectly they ended this. Goodbye to one of the greatest shows ever made. #Successionpic.twitter.com/AcrdP8qvq5
The #Succession finale was perfect in that I’m seething with rage and unsatisfied as fuck and yet every decision made complete dramatic and thematic sense pic.twitter.com/Rgoy72gQ3o
Barry’s final episode also drew criticism, but most viewers expressed their admiration for the actors’ performances and Bill Hader’s directing in Season 4.
#BARRY that might’ve been the darkest yet most beautiful ending to a show I’ve ever seen. Holy fuck. Bill Hader you fucking legend how did you conceive this show. I want to study your brain for that ending. I love you. Wtf wtf. My jaw dropped, how in THE HELL. A PERFECT ENDING!! pic.twitter.com/k1bCW2FaEM
I expected Barry to have a quick, simple and anticlimactic death but that did not stop my shriek of shock when it happened #barrypic.twitter.com/9jMmtLw0HP
— max ? succ + barry spoilers (@tourmalinecrack) May 29, 2023
Whatever your thoughts on the #Succession and #Barry finales, a particular era of high-quality HBO programming ended tonight. Highly unlikely that we’ll ever see it again. ??♂️
The Season 3 finale of Ted Lasso dropped on Apple TV+ on Wednesday, and the questions still lingers if this is the last time viewers will see AFC Richmond.
The Ted Lasso ending was so meta. “Change the title. It’s not about me. It never was.” The door is wide open for a reincarnation,m and a Season 4 under a new title: Well played. #TedLasso#TedLassoFinale#Believepic.twitter.com/dLI6IguyMd
— JennyisaHeartie ?????? (@GryffindorJenny) May 31, 2023
“It’s just likely the end of this story because we always saw it as a three-part thing,” Hunt continued. “We never even knew for sure we’d be able to tell all three parts—and suddenly, here we are. So, there will be some type of closure to this beat but closure is not necessarily the end.”
It’s safe to say, though, that Jason Sudeikis is parting ways with his role as the titular “country bumpkin” coach.
How do you create a period dramedy about Catherine the Great? Producer Marian Macgowan tells us.
Behind every successful television series is a world of intricate collaboration, refined creativity, and dedicated visionaries who bring captivating and diverse stories to life. One of those visionaries is producer Marian Macgowan, the executive producer behind the critically acclaimed series The Great on Hulu.
With three seasons under her belt, Macgowan has played a key role in crafting a show that’s already been nominated for six Emmy Awards, including nominations for its lead performers, Elle Fanning and Nicholas Hoult. In the colorful, wacky, sexy world woven by the exceptional writing of Tony McNamara, Russian royalty engages in hijinks and intrigue ranging from war to murder to horse breeding. You’ll just have to watch season three to see how all that intertwines.
In the meantime, you can read about Macgowan’s experiences working alongside McNamara, her approach to selecting projects, and her invaluable tips on the art of pitching. Huzzah!
The following interview has been edited for length and clarity.
No Film School: I love the show. I have loved it since it started.
Marian Macgowan: A die-hard fan.
NFS: I remember watching the trailer early on before it was released, and thinking it was the perfect show for me. I love period pieces and I love that sense of humor merged with the drama … What got you excited about The Great, and what got you on board?
Macgowan: It was originally a play, which was put on by the Sydney Theatre Company, and when I saw it, what I liked about it was that it was a great role for a woman. It’s sort of the idea that it’s a woman who positively affects the world around her, and that’s an—you don’t get a lot of those stories around, and here it was in a sort of fully formed play form. So, it was something that I could option. So, I optioned it, and working with Tony [McNamara], we developed it originally into a screenplay, which went through a number of incarnations as these things do.
The thing that was interesting about adapting plays is that it’s not necessarily as straightforward as it seems. Certainly, not to cinema. I think they possibly adapt themselves more readily to television than they do to cinema. Oh, that was interesting. The reason I’m hesitating is I was just thinking about The Whale, a Brendan Fraser film, which clearly is a play and feels like a play when you’re watching. But anyway, we did. We went through… The thing that was interesting about the play was it was bifurcated, so the first half of the play was her as a young girl, and the second half of the play was her as an older woman dealing with the repercussions of her decisions. The play used the same actors in both halves in different roles, so we had to resolve that problem. But the thing that drew it to me initially was that sense of female agency.
‘The Great’Credit: Gareth Gatrell/Hulu
NFS: Why do you feel like plays are more a fit for TV rather than a feature film?
Macgowan: It’s the dialogue. It’s the dialogue. I mean, plays tell their story very much. It’s very much a dialectic. Not wishing to get too intellectual about it, but it’s a dialectic. One character presents one point of view. The other character presents another point of view, and they tussle on the stage using dialogue primarily, and I think television is much more dialogue-driven. Certainly, the television that we’ve made is much more dialogue-driven. It’s less visually driven in that regard.
NFS: What are the challenges of doing a period show?
Macgowan: Ugh, numerous. So many. In fact, the irony of your opening comments about the period thing is that Tony hates period stories.
NFS: That’s very surprising.
Macgowan: The irony is that he’s done The Favourite and The Great. It’s not lost on him. It’s not lost on him. Period shows, I think, if you’re … It depends on your approach to the period. Are you going to tell a historically accurate period story or are you going to use the period to tell a story based on a theme and a character? That was our approach.
The other big choice I think you make in period stories, and I think it’s true in science fiction stories as well, is how much of the past and present is in any scene. I mean, one of the great things … I remember thinking about Blade Runnerand the original movie was that there were vestiges of the 20th century in that story, so you could see where the world had come from. Equally, in a period story, you have to acknowledge that there would be things from two centuries ago or a century ago or two decades ago or whatever it might be, so that’s another choice you have to make.
We were very much looking for a frat boy house when we did the first season. Peter’s world was a frat boy house. They had parties. Things got trashed. Things got burnt. And then, the world that she then takes over becomes more a world of enlightenment and more sort of harmonious interiors. Costumes equally change for that reason. But I mean, it’s a big narrative hurdle in some ways, period, because you’ve got wigs. You’ve got corsets. You’ve got complicated outfits. The decoration and the interiors of the world, there are no cars. There are no phones. There are just carriages and horses. You have to be careful not to let that obscure your characters at the same time.
‘The Great’Credit: Christian Black/Hulu
NFS: I think one thing that resonates so much with viewers of this show is that while it’s a period piece, the stories and characters feel very modern still. I’m interested in how you achieve that as a team.
Macgowan: The primary thing is the anachronistic dialogue, essentially. That’s where it sits, but it’s also that [Catherine] … I mean, at its core, it’s a story about a girl who married the wrong man, and whatever the events that might occur, it always pivots on that relationship and how she is or isn’t managing or it is or isn’t resolving itself. So, I think it’s partly that their relationship with each other is that of a contemporary 20-something, but it’s also primarily the dialogue, and also, I suppose the way in which we interpret contemporary ideas like contraception in sort of 18th-century ways, lemon tops and things like that. So, it’s a contemporary idea, but it’s manifesting in a sort of 18th-century way.
NFS: Like I said, I love the mix of drama with almost manic humor, at times. It feels like a knife edge, and it’s been maintained over the course of several seasons now. How do you do that?
Macgowan: Mostly, we just get Tony to write it. It’s mostly what we do. The other secret to it, just his writing as it is to quite a number of other people I’ve worked with writing, is speed. I mean, the actors do an extraordinary job remembering all that dialogue, but then we very much rely upon the speed with which it’s delivered. That and the other critical aspect of it is the rhythm. So, those elements definitely contribute to sustaining the comic pathos tone.
I suppose the other thing that we do very much is the classic thing. It’s a narrative drama at its core, and if you play it like a narrative drama and let the characters and the dialogue do their job, that seems to us to have worked out to be the best way to keep that tone consistent. Well, every now and then, we realize that it’s not working, and that’s sometimes what doesn’t end up in the cut, and things like that.
‘The Great’Credit: Hulu
NFS: Not to focus on what doesn’t work, but are there discussions about reworking things? Or is it that everyone has a sense this is not fitting what we want to do?
Macgowan: We do reshoot things sometimes and we do pick-up shots, like anybody does, I suspect. I think Tony and I understand and are timely and consistent about the show, that we know instantly if it’s not right. Everything from a cast decision or a cast thought to a costumed thought, we are both instinctively very clear about when that’s right and when that’s not, but I think it’s because we’ve lived with it. I mean, I’ve been working with Tony for 30 years, so we’ve made films together and TV shows together, so I think there’s just an understanding of what’s going to work and what isn’t.
NFS: Obviously, seeing Tony’s work, I’m sure that sparked something, but what are you looking for when you want to option a project or speak with a writer?
Macgowan: I think I’m looking for something that I believe audiences are interested in at the time, a sort of zeitgeist idea, definitely. Then, I’m looking for an original voice because I mean, you put your finger on it in a sense in your opening remarks. The thing that made The Great very hard to get up in the first place, but also makes it successful, is it’s completely unique. There isn’t anything like it. You can’t go and say, “Oh, it’s like that.” So, when you’re sitting in that pitch session going, “Well, you need to make this film because it’s like ‘blah,'” we just didn’t have that, and we had, when it was a film, a lot of concerns, a lot of responses along the lines of, “We love the script, but it’s so execution dependent. We can’t see what it’s going to look like. We don’t know what it’s going to look like.”
So, for me, an original voice is very important combined with, as I say, an idea that I think has its moment now or is something that we’re consciously or unconsciously thinking about or considering or wondering about. Yeah, they’re probably the two main things.
‘The Great’Credit: Hulu
NFS: You mentioned pitching. I know it’s such a big topic and situation-dependent based on which rooms you’re going into, but do you have any general advice you would give to someone going into a pitch?
Macgowan: I think the thing that I always rely upon at the end of the day after many, many pitches is to try and let the people you are talking to understand why you love this. If you can communicate that passion, then I think you get a real chance of communicating why your idea is a good idea and why they should do it. I think when you can get that authenticity, then I think you have a real chance, and that’s really just about understanding why you love it.
What do you think about it? What is it about this idea that makes it so exciting to you and why you can see it on the screen? That’s the thing I hang onto and I don’t know. When I’m sitting there and everyone’s staring blankly at me, I just think, “Okay, why do I love this? What is it? How do I let them understand how I feel about this and communicate my passion?”
NFS: Any other advice for aspiring showrunners?
Macgowan: I think, speak up. Just hang on to your idea as tightly as you can because there are a lot of forces that just don’t understand where you’d understand it and you need to stay firm to that. So, if the director is pushing back on something, understand why they’re pushing back. If the studio or the network, whoever it is who’s also of the cast, just be clear that everybody’s on the same page. It’s the age-old advice about “Just be sure you’re all making the same show,” and hang on to it. It never hurts to say, “You know what? I’m not sure that’s right.” It might turn out to be right, but it never hurts to question it.
May thy knife chip and shatter. The sci-fi fantasy series known as Dune has long been a staple in sci-fi culture with many screen adaptations being made over the decades. But in 2021, Dennis Villeneuve set the bar sky-high for Dune: Part 2 with the first movie, which astounded audiences the world over. The sci-fi world taking place millennia into the future centers around the concept of a highly valuable drug/substance called Spice and the Atreides family that has been sent to oversee the planet that produces it (more specifically, the boy known as Paul Atreides). Paul was meant to be a girl and the messiah of his people, but his birth as a boy gave him and his family many enemies, thus sending the entire sci-fi universe into a spiral.
The first film, which released back in 2021 on Max (formally HBO Max), should have been the tentpole film of the year had it not been for the lasting effects of the pandemic on movie theaters. However, the film was still epic enough to easily warrant a sequel that has had fans hyped since its announcement. So, with the sequel finally set to hit theaters at the end of this year, let’s take a look at everything we know about Dune: Part II.
Plot
The number one thing that fans will probably be most hyped about for Dune: Part II is the fact that the first film firmly established the ‘world’ that the characters inhabit. I.e. the culture, the technology, the politics between the multitude of families, and the lore itself has been addressed enough that audiences can feel immersed in the universe. So, that leaves the plot of the movie will be the most important focus of the film (which is still technically true of the first, but a lot of the information given was for learning purposes rather than just to push the story forward).
That said, fans have already been given a little bit of information about what to expect for the plot of the sequel. Audiences already know that Dune: PartI ended on the cliffhanger of the Atreides family being betrayed and in shambles with Paul and his mother escaping to the Fremen to live among the natives of Arrakis. Dune 2 will directly follow these events, honing in on Paul’s journey as the protagonist to fulfilling his destiny of uniting the natives and his own people.
The direct synopsis for the film is as follows: Dune: Part II will explore the mystic journey of Paul Atreides as he unites with Chani and the Fremen while on a warpath of revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the known universe, he endeavors to prevent a terrible future only he can forsee.
While the description doesn’t give any hints to minor details, it assures audiences that they can expect a truly heroic tale to play out on screen – one that Villeneuve has promised will focus more on both Paul and Chani and the journey that they take together, rather than just trying to make Paul the sole hero.
Cast
Just like it’s predecessor, Dune: Part II has an exemplary cast with no less than half a dozen household names, as well as several other notable actors and actresses to round out the entire cast. It was never in question, but both Timothee Chalamet and Zendaya will be reprising their roles as Paul Atreides and Chani, the two characters whom the true story of Dune revolves around. Not only will Chalamet and Zendaya be returning from the first film, but so will Josh Brolin as Gurney Halleck, Dave Bautista as Glossu Rabban Harkonnen, Rebecca Ferguson as Lady Jessica Atreides, Stellan Skarsgard as Baron Vladimir Harkonnen, Javier Bardem as Stilgar, and Charlotte Rampling as Reverend Mother Mohiam. As of this writing, no other characters from the original movie are confirmed to be appearing in the sequel.
Sadly, two majors A-listers from the prior film in Oscar Isaac and Jason Momoa (reportedly) will not be returning for the sequel. Audiences will remember that both Isaac and Momoa, who respectively played Duke Lero Atreides and Duncan Idaho, tragically lost their lives in the first installment. However, fans of the Dune book series know full well that it’s possible to ‘resurrect’ characters in their universe via an advanced technological cloning method called ghola. This particular technology would make it very easy to bring back either Momoa or Isaac as their respected characters, but neither character does so in the first Dune book so there would have to be an adjustment to the story.
Despite losing two major Hollywood names, Dune: Part II wasted no time in finding other prominent stars to fill in the gaps. Florence Pugh continues her reign of stardom by taking on the role of Princess Irulan Corrino, the daughter of Emperor Shaddam IV who will be played by none other than Christopher Walken. Adding to the star power is recent Oscar-nominee Austin Butler who will be playing the character Feud-Rautha. In addition, Lea Seydoux has been cast as Lady Margot, Souheila Yacoub has been cast as Shishaki (a Fremen leader), and it’s also been reported that Tim Blake Nelson has been cast in an undisclosed role.
Even though the franchise has already lost Oscar Isaac and Jason Momoa (two of the current most marketable actors in Hollywood) Villeneuve stepped right up and created another all-star cast, and it’s one that fans will assuredly be blown away by.
Everything Else
As the film is set to be one of the biggest of the year (arguably the biggest) it’s understandable that a lot of what’s going on with the movie is being kept under wraps. That said, fans have been given a few tidbits of information to hold them over until the movie hits theaters. It’s a given, but Dennis Villeneuve is returning to direct the sequel, and it should be noted that he wrote the movie along with fellow screenwriter Jon Spaihts. Another piece of information to note is that writer Eric Roth was credited with helping write Dune: Part I but apparently does not seem to have had a hand in writing the sequel.
Another given (but still worth mentioning for those who may still not know) but the film is based off of the sci-fi book of the same name that was written by Frank Herbert back in 1965. The franchise has had multiple media adaptations with Villeneuve’s vision being the most recent rendition and choosing to split the single book into two separate movies. It is worth mentioning that the book has a direct sequel, Dune Messiah, and Villeneuve has talked about possibly adapting the sequel into further movies, but has also been careful to solely focus on doing the first two movies properly before committing to ones down the line.
After the success of the first Dune film, the production crew began filming the sequel roughly a year later beginning on July 18, 2022. The filming itself reportedly took place in Jordan, Abu Dhabi, Budapest, and additionally Italy before finally concluding in December.
An important piece of information that fans need to be aware of is actually the release date of the movie (especially since it’s changed a few times). The current release date for the film is November 3rd, 2023 and has settled on that date after originally being set for October and then being pushed further back to November 17th. While the release date seems to finally be set in stone, audiences have to be aware that releasing in November gives Dune: Part II some serious competition.
By releasing November, the film will have to go up against other tentpole movies like The Marvels from the MCU as well as the Hunger Games prequel The Ballad of Songbirds and Snakes. If those two juggernauts weren’t enough, the movie will also have to compete against Trolls Band Together, the third film in the trolls franchise, as well as the animated Disney film Wish. While capable of holding its own, and not necessarily pertaining to the same demographic of viewers, releasing next to three majorly established franchises as well as an animated Disney movie will assuredly pull some audience-goers away in following weeks.
One last piece of information we have is that the Dune franchise is nowhere near over. Despite Villeneuve making no confirmations of a sequel, it’s already been reported that a spin-off television show is in the works at Max. However, this spin-off won’t involve any of the characters from the current Dune movies and will shift the focus thousands of years in the past, serving as a prequel.
Dune: Part I may not have made the societal impact that some other recent sci-fi/fantasy franchises have (such as The Lord of the Rings or the MCU) but with the pandemic died down and audiences returning to theaters in droves, it’s safe to say that Dune: Part II will be one of the biggest cinematic releases of the year.
Oscar Isaac knows exactly who he wants to star as a character and voice in the next Spider-Verse film.
When asked during a recent interview with British GQ who he would love to see join the cast for the next movie, the actor said that while production is “brilliant at finding the right person for the right character,” he would suggest his friend and The Last of Us star Pedro Pascal.
“Let’s find something for him,” Isaac added, who voices Miguel O’Hara in the latest animated film in the franchise, Spider-Man: Across the Spider-Verse. “He should be a Spider-Person, like a cranky, old Spider-Person.”
Earlier this year, Pascal told Wired that he met Isaac when they were doing a play together in 2005. He added, “An off-Broadway show where we were getting $500 a week, before taxes.”
The two have been friends ever since, even starring in 2019’s Triple Frontier together. The Mandalorian actor recalled one of his favorite memories throughout their friendship during the January interview, saying, “There’s so many. He’s so naughty.”
He continued, “His level of naughtiness onstage during that play, for example. He played a ghost, which meant that the living characters in the story could not see him. I had to do my scenes, and he would physically be there, but because my character couldn’t see him, he could fuck with me, all in front of live audiences, as much as he wanted, trying to get me to crack up or forget my lines. The memory is simultaneously dark and wonderful.”
Pascal also previously told Esquire that the duo initially bonded because “we have very similar backgrounds.”
“We’re both children of Latin immigrants, so there’s sort of a cultural familiarity, then at the same time we’re both actors,” he said during the April 2022 interview. “We have the same dreams.”
The nominations for the Emmys are still weeks away. But there’s growing excitement in the Latino community as multiple lead actors continue to look well-positioned to receive deserved recognition.
Two of the top contenders in the lead drama actor race — Pedro Pascal as the hardened survivor Joel from HBO’s apocalyptic video game adaptation “The Last of Us” and Diego Luna as the rebel hero Cassian in the “Star Wars” prequel series “Andor” from Disney+ — are Latino and star in buzzy sci-fi and fantasy series.
Only one Latino actor has been recognized in the lead drama actor category in the past: From 1995-1999, Jimmy Smits received five consecutive noms for his role as Det. Bobby Simone on ABC’s “NYPD Blue.” Coincidentally, Pascal appeared as a guest on a 2001 episode.
Jumping seamlessly between film and television, the Chilean actor has become a household name thanks to TV stints on “Game of Thrones” and “Narcos” and movies such as “Wonder Woman 1984” (2021) and “The Unbearable Weight of Massive Talent” (2022). He only added to his fame when he took on the man under the helmet in another “Star Wars” spin-off series, “The Mandalorian. ” In February, he did a stellar job as host of “Saturday Night Live.” It’s impossible to ignore the obvious tagline for this Emmy FYC season: “Vote for Pedro.”
Luna’s return to a beloved character in “Andor” has also been welcomed. The Mexican actor, who made his U.S. breakout performance in Alfonso Cuarón’s 2001 film “Y tu mamá también,” has been applauded for his internalized, central, moving performance. The show also received some of the best reviews for any “Star Wars” series, thanks to the guidance of director-producer Tony Gilroy.
In the actress categories, both Selena Gomez, who portrays the dry-witted Mabel in Hulu’s “Only Murders in the Building,” and Jenna Ortega, who stars as the deadpan teenager on Netflix’s “Wednesday,” are front-runners.
Actress America Ferrera of “Ugly Betty” poses in the press room at the 59th Annual Primetime Emmy Awards for Outstanding Lead Actress in a Comedy at the Shrine Auditorium on September 16, 2007 in Los Angeles, California. (Photo by Albert L. Ortega/WireImage)
WireImage
It could be the first time two Latinas have been recognized in the same acting category and only the third occurrence in any acting category. Only two Latina actresses have ever been nominated in the lead comedy actress category in Emmy history — Rita Moreno (“9 to 5” in 1983) and America Ferrera (“Ugly Betty” in 2007 and 2008). Ferrera is the only winner for her first season.
Gomez, a superstar on the mystery romp, was omitted from the category last year but is even better in the second season. And Ortega’s star has skyrocketed with viral moments and dance crazes from the “Addams Family” spinoff.
While her brutally honest interviews about editing “Wednesday” scripts could put some voters off, there’s no denying she’s the breakout of the year. Her appearance in box office smash “Scream 6” may also make her an easy selection for not-so media plugged-in voters.
The limited acting categories have fewer “slam-dunk” contenders than the comedy and drama races. While Zoe Saldaña delivers a decisive turn in Netflix’s “From Scratch,” she faces a bunch of big names from more notable series. The same goes for Amber Midthunder, the kick-ass indigenous actress from Hulu’s action-packed TV movie “Prey.” For lead actor (limited), all hopes rest on the shoulders of Andy Garcia in the HBO Max remake of “Father of the Bride,” which received decent reviews but has been muted on the circuit.
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