“Unstoppable” is a drama based on a true story and also stars Emmy-winning actor Jharrel Jerome in the role of Anthony Robles. Despite being born with one leg, Robles became a three-time All-American wrestler and won a national championship at Arizona State. After retiring from wrestling in the early 2010s, he has been serving as a commentator for NCAA wrestling since 2012. Meanwhile, Lopez, who recently appeared in Netflix’s “The Mother,” will portray Robles’ mother in the film.
“Unstoppable” is directed by William Goldenberg and is Artists Equity’s second film following the Ben Affleck-directed “Air.” That sports business underdog story, chronicling how Nike became a titan in the shoe industry by betting on then-rookie Michael Jordan, played theatrically earlier this year and grossed $90 million worldwide. Amazon acquired the film for $130 million. There is no official word as to whether “Unstoppable” will end up at Amazon or elsewhere.
Deadline first reported the news.
For all of TheWrap’s WGA strike coverage, click here.
When making a television show, the creative team typically has an idea of who might play the major characters. But in the case of Freevee’s hit series “Jury Duty,” casting director Susie Farris had a unique challenge. When she sat down with producers Dave Bernad and Jake Szymanski, they explained, “We want you to find people that we don’t know. Really talented people. We’re casting a jury, and it’s sort of ‘The Joe Schmo Show’ meets ‘The Office,’” Farris said at Variety‘s “A Night With Artisans,” hosted by senior artisans editor Jazz Tangcay. Farris enjoyed the unexpected process, saying, “The beauty was that the actors basically had stories built around them, rather than vice versa.”
Bob Ducsay, editor for several of Rian Johnson’s films, had never worked in episodic television before signing on to his Peacock mystery series “Poker Face.” He was excited to learn something new and credited one vital partner in the transition: “My assistant who had done television before had to sort of teach me how the act breaks worked and how all that was put together.” But, with each episode being something of a feature film, he assured the audience, “I was pretty comfortable with it.”
One piece that added to the challenge was the arrangement of the production. “The thing that’s crazy is Episode 9 was the first episode [we shot]. I think that was very difficult on some level for everyone, because it’s an extremely dark episode. It’s very, very different than almost all of the others. The tone was a little bit difficult to navigate simply because we knew it was an outlier.” But Ducsay credited Johnson’s “great vision” and ability to reassure everyone that the episodes would work together. “I think they did pretty well,” he said.
Fellow editor Taylor Mason had a different type of challenge in working on the Netflix series “Dahmer – Monster: The Jeffrey Dahmer Story.” She needed to bring the story of the notorious serial killer to life without glamorizing him. Mason told the audience, “It was kind of a feat. Evan Peters is so charismatic and demands the scene. It was really the visual language that we leaned on, to kind of avoid glamorizing most of the characters in that series.”
To do this, Mason prioritized a more distant approach to the subject. “We lived in the wides a lot. We used a lot of static shots, and had a kind of measured pace throughout to allow us to tell the story without eliciting any empathy from the audience that generally comes with those closer tights,” as she emphasized the need for a more objective perspective.
Music is an essential piece in storytelling, and “P-Valley” music supervisor Sarah Bromberg has enjoyed getting to highlight female rap artists throughout the series. Citing creator Katori Hall, Bromberg said, “We have a really amazing guiding light in Katori, who grew up in Memphis near where our fictional town is set in northern Mississippi.”
Bromberg shared that female voices were a priority to Hall from the initial conversation, saying, “She had always wanted to make sure that the female voice is strong. Rap has very much been a male game for many years and she wanted to highlight some of the amazing female rappers that are coming up. Constantly throughout the process, she asks how many female rappers do we have so far? So she’s always counting to make sure that we’re really highlighting those voices.”
Sean Callery, a composer who scored the Fox anthology series “Accused,” had the opportunity to amplify voices in another way. In the episode “Ava’s Story,” directed by Marlee Matlin, Ava is played by deaf actress Stephanie Nogueras. Callery recalled an important rule he learned from his mentor, Mark Snow, years ago: “If you can’t hear the dialogue, no one’s watching.” This is a rule he has carried throughout his work on other series. When it came to “Accused,” he was drawn to the sounds of Ava’s expression. “Their language was a combination of hand movements, which had actual sound. You actually can hear the hands and friction,” he explained.
By listening to the sounds of Nogueras’ hands and mouth, he found, “It was beautiful. So we honored that and stayed out of the way of it.” He felt this was essential to the message of Ava’s story, saying, “At the end of the episode, she’s basically saying we’re born who we are. We’re fundamentally perfect just like that.”
In “A Small Light,” composer Ariel Marx used a small ensemble to tell the story of Miep Gies (Bel Powley) the woman who sheltered Anne Frank’s family from the Nazis. She envisioned the instrumentation as humble, noting, “It was a small ensemble. My influences were klezmer jazz, folk, classical, the amalgamation of the music that was playing there at the time.”
Marx’s small ensemble included violin, guitar, cello, clarinet, percussion and electronics. “It was very minimal,” she said. “But again, it was about an ordinary woman doing extraordinary things. And I really took that seriously in the ensemble. How big can we make this five-person band sound? And how can they become more complex and more brave as the series progresses? That was the guiding light for the palette.”
Working in another type of palette, art director Jacqueline Kay collaborated with production designers Michelle Yu and Cindy Chao to find the right designs and colors for their Disney+ series, “American Born Chinese.” Drawing from the graphic novel as well as Chinese symbolism, one important set — crafted for a gala — was designed as an octagon. Kay explained, “In Chinese mythology, the octagon shape is a symbol of balance, of harmony in the universe.” For this particular sequence, they designed a set with a stage in the middle for the host, “and then each of the different zones represented different pieces of Chinese mythology.”
Color was also essential to this process, as Kay told the audience, “It was the Jade Emperor, so we played in the jades and the pinks and the reds. What delineated the God realm versus the human realm, we brought a lot of pinks and reds into our trees with golds and jades, which are all heavily symbolized in Chinese folklore.”
Collaboration was key for cinematographer Ksenia Sereda when crafting scenes for HBO’s “The Last of Us.” In one vital early scene, our main characters are trying to escape from impending danger. The scene included elements of handheld photography, stunt choreography and timing. “We made a decision to do this scene mostly as a oner,” Sereda recalled. It was challenging, and she added, “You have to find the right timing for things inside of that.”
For Sereda, the decision to stay in one long shot helped the viewer stay connected to the characters, “to spend equal amount of time on the screen with characters as the viewer response in real life.” But this could not have worked if not for an organized production. “It was very vital for production to organize the working environment for everything to be safe, and to have enough time to rehearse and for our team to build everything perfectly.”
When asked about the most important collaborations on the set, “Mrs. Harris” director and executive producer Owen Harris explained, “There isn’t a single most important person. It’s absolutely a collaboration. And it’s absolutely about trying to join people together, making sure that if someone has a certain perspective, or an idea that that’s been being shared with someone else, that that person feels able to share their ideas back so that no one ends up feeling more important or less important.”
Seven years ago, Javier Grillo-Marxuach got drunk with his fellow writer-producer Jose Molina and made a list of “made a list of all the sociopathic abusers [they’d] worked for, and a list of the good ones. One list was was significantly longer than the other.”
While he didn’t specify which of his TV jobs he was referring to — though “Lost” comes to mind thanks to recently surfaced accounts about its “toxic” writers room — Grillo-Marxuach spoke on ATX Festival’s Beyond the Page panel about how resources and mentorship for younger writers began dwindling when the industry shifted to a streaming model.
One of the major responsibilities a writer has aside writing scripts is to make sure those scripts retain their integrity throughout the production process. For any number of practical reasons, a scene that works on the page doesn’t always translate in front of the cameras, and it used to be universally acknowledged that TV writers were there to provide on-the-fly guidance about how to make adjustments that stay true to showrunner’s vision. But these days, writers are much more rarely paid to come to set at all.
“On streaming shows, you spend six months in a row writing scripts, and then everybody gets tolf to eff off,” Grillo-Marxuach said. “The only person leftover is the showrunner and maybe whoever the least expensive writer was on the staff. Then production begins, and you have to figure out what to actually do.”
“I had a job during the lockdown. It was a streaming show, and they wrote their season. Then the writers were told to eff off, and they did, and then [the studio] gave notes. And one of the notes was, “Can you please remove this subplot that is one-fourth to one-third of the season?’ The writers had all moved on to other jobs, so they called me like, ‘Can you spend time with the showrunner like fixing this?’”
Grillo-Marxuach describes the experience of working while completely divorced from production as “writing in a vacuum,” which both hurts the quality of a show and makes it difficult for junior-level writers to gain the experience necessary to rise the ranks and become showrunners themselves. Referencing the ongoing Writers Guild of America strike and arguing that on-set experience is paramount to the TV process, rather than a privilege, Grillo-Marxuach said, “The future of television is that Netflix is going to figure out that they have to make television. If we don’t go back to a model where we are doing it because that is the structure of it, then we have to bake it into the contracts, and they have to pony up to have the writers on set. To keep us as employees of the show for the duration of the writing and the production of the show. That’s what we’re striking for.”
On another panel, titled Artificial Intelligence and Us, he discussed another sticking point of the WGA negotiations: AI and how it may end up being used to write film and television. Rather than arguing that AI should be completely banned from the creative process, he posited that there are perhaps ethical uses of AI that could benefit writers and studios alike.
“We can be afraid of this technology, or we can embrace the fact of the matter: It’s moving at the speed of capitalism. The speed of light has nothing on the speed of capitalism,” he said. “It’s compiling things and it’s putting them together in ways that may seem uncanny. The fact of the matter is AI is going to write. So we need to teach people how to use the technology to enable us to make better choices — not to make choices for us. AI can help us find sources of information we didn’t know existed, but it is only as good as who is feeding it what.”
Before going on strike, the WGA made proposals that would limit economic harm to writers due to to the use of AI because, Grillo-Marxuach puts it, “Our immediate nightmare scenario is: Somebody’s gonna get AI to write crappy script, and then they’re going to make me rewrite it into a good script for less money.” The studios, collectively negotiating as the AMPTP, rejected the proposal and instead offered to hold annual meetings to discuss advancements in the technology.
At the panel, Grillo-Marxuach said, “They have a plan. If they’re talking about only having meetings now, that means they’re having meetings. They know what they’re going to do with it. We need to get to that. We need to grab those tools and say, ‘Hey, look. Here’s what I can do with it.’ Instead of the studios telling us, ‘Here’s what we think you should be doing.’”
So far, there has been zero talk about a prequel spin-off, but it’s clear from this interview with Screen Rant Plus that Melissa and Javier – in particular – would be down. Not only that, but the depth of character that Melissa imbued Ursula with (think of when she talks about “suffering” when she’s finally faced with King Triton) is dying to be explored in a movie all about her life!
Robin Wagner, the legendary Broadway set designer who created the stage worlds of “The Producers,” “Angels in America,” “Crazy for You”, “Hair,” “Dreamgirls” and dozens more, framed “ A Chorus Line” in black velour and mirrors, and once plopped Mick Jagger in the center of a chromium lotus for the Stones’ 1975 Tour of the Americas, has died at his Manhattan home.
Wagner, who died in his sleep May 29, was 89.
His theatrical output was staggering. Between 1961 and 2012, he designed 63 Broadway plays and musicals, according to his daughter Christie Wagner Lee, garnering Tony Awards for the original Broadway productions of “The Producers,” “On the Twentieth Century” and “City of Angels.” Another seven of his shows brought him Tony nominations.
The versatility of his work was similarly impressive. For Larry Gelbart’s “City of Angels,” a musical comedy thriller about private eyes, moviemaking and Hollywood romance, he came up with 46 scene changes — one every three or four minutes. “A Chorus Line’s” set was so minimal, he liked to say, that once you added the white line on the floor, “that’s all you needed to do the show. You could do it in a parking lot.”
“Go back to Shakespeare,” Wagner would often say. “In the first seven lines of ‘Hamlet,’ you learn everything you need to know — the place, time, weather, situation and all the characters’ names. I start with the principle that everything has to earn its place on the stage. If it doesn’t have to be there, you get rid of it.”
“Robin Wagner was a true artist and an artist who found himself in the most collaborative of art forms — musical theater,” said the Tony-winning director and choreographer Susan Stroman, a frequent collaborator. “I was lucky to have worked with Robin many times as both a director and choreographer on shows including ‘Crazy for You’ and ‘The Producers.’ He was a master at designing sets that moved and constantly pushed the plot forward. He had the soul of a dancer, fitting for the man who designed “A Chorus Line.”
Wagner also designed ballet sets, including one for Stroman’s ballet “Double Feature” at the New York City Ballet. His opera sets graced stages at the Metropolitan Opera, Swedish Royal Opera, Hamburg State Opera, Vienna State Opera and the Royal Opera at Covent Garden.
Tall and dapper, Wagner usually dressed as if he were going to work in an office, not the theater. His nicely polished shoes crunched wood shavings where sets were being assembled, and his sports jacket and tie were in sharp contrast to the jeans most of his colleagues were wearing.
But Wagner thought like an artist. “When I’m reading the script, I can see how it all fits together and how you get from one scene to another,” he said at one point. “I guess that’s what makes designers designers — they visualize things a certain way. Writers see words and paragraphs — we see little pictures.”
Robin Wagner was born Aug. 31, 1933, in San Francisco. His father was a lighthouse keeper, his mother a concert pianist from New Zealand, and he recalled attending 25 schools in both the United States and New Zealand during his youth. He went to movies as a child, he said, but not plays. As a teenager trying to impress his ballerina girlfriend, he once volunteered to paint toe shoes on the window of her teacher’s studio, found out he could actually draw, and went off to art school.
He never formally studied theater design. “I went to art school and studied sketching, started buying books about theater and sneaking backstage,” said Wagner. “But I never got formal design training. I was taught by directors.”
He left San Francisco for New York with a friend in 1957. “We arrived at the old 34th Street Terminal around 5 a.m.,” he once told a theater audience, “and the one place we wanted to go was to Broadway. So we ran to Times Square and grabbed some coffee so we could watch the sun rise in Shubert Alley. I had no idea if I would ever work in the theater in New York, but that was my street of dreams. And I still get excited when I walk across that alley.”
He soon started doing work off-Broadway. He worked on 27 off-Broadway shows, and said that when the regional theater movement began, it proved a great training ground. He managed to work for Oliver Smith, who had designed “Brigadoon” and the original “My Fair Lady,” the first Broadway show Wagner ever saw. He spent five years with Smith, and said he learned everything about musicals from him.
Wagner listened to his directors. The biggest problem for a set designer, Wagner told The Times, was “how you get into the director’s head and create the ship he has to steer. He’s the captain. You’re just the engineer throwing coal into the engine.”
Wagner often used a ship metaphor. He saw shows as ships with directors as captains and “the captain is always right. There has to be a single vision, If you can’t make his vision come to life, the show won’t work. It’s like a heartbeat.
“There are 1,000 moving parts. And just when you think you’re on top of it, some part blows out and you have to rebuild it. It’s like a bubbling soup and you try to dance on it. But you never know when it’s going to boil over. And everybody’s hungry.”
His three children have all worked in the arts. His daughter Christie, named after the central character in “The Playboy of the Western World,” the play he was working on when she was born, has been a director and producer and often worked with him. His son, Kurt, is an architectural lighting designer and his older daughter, Leslie, named after Leslie Howard, is a painter.
Asked why they all wound up in the arts at some point, Christie replied that “it was something he would get excited about, and backstage was a comfortable place to be. He took us to load-ins at the theaters, and we watched rehearsals. My first show was ‘Hair’ when I was 5. He took us to the shop to look at scenery and to painting studios. He didn’t have a studio yet when we were young, so we were always around.”
In the early to mid-’70s, his design studio was in the middle of the family’s apartment, recalled his second wife, film and theater producer Paula Wagner. “In retrospect, it was great that I got to see the evolution of his process. Brilliant is a word we use too liberally, but it applied to Robin in every way. He was equally adept with spectacle and simplicity, and he could have both extremes in one show. He virtually redefined what set design was.”
Later, Wagner worked in a sunny corner studio at 890 Broadway, a place where Broadway musicals have rehearsed for years. Old drawings were in drawers, blueprints were tacked up on the walls and models neatly assembled either on top of tables or on shelves below.
David Peterson, now resident scenic designer at the Metropolitan Opera, was Wagner’s studio assistant for 27 years, leaving in 2017 when Wagner closed the office. “Robin worked with the best in the business,” said Peterson. “Not just directors but choreographers, other designers, the shops. As a problem solver, he was unparalleled. He was so smart. He did the work, and like other top professionals, he made it look easy.”
Easy it wasn’t, said Neil Mazzella, CEO of Hudson Scenic Studio in Yonkers, which did 22 Broadway shows with Wagner. “Every time he did a show, he challenged himself and everyone else who was part of it. Not every challenge he gave us worked — the high gloss on ‘Saturday Night Fever’s’ dance floor and ceiling was a nightmare, for instance — but we did it anyway.”
Wagner was a fanatical researcher and reader. His bookshelves were filled with books on all sorts of subjects. And for a movie-oriented show like “City of Angels” he estimated he sat through 100 movies — some of them six or seven times — to soak up atmosphere.
Movies and books were just the beginning. Daughter Leslie said there were rocks all over the house that he collected on his research travels, often to exotic locales. Each was labeled where it was from, such as the rock he brought back from a research trip to Israel for “Jesus Christ Superstar.” He would often share his research slides, rocks and stories with his family.
For many years, Wagner also hosted a get-together he called the Bartender Bash where he would invite people from restaurants and bars he frequented to his apartment where he and his son, Kurt, would wait on them. “It was a great night,” recalled his longtime partner Susan Kowal. “He was a great storyteller. The people who worked with him were often in awe of him, but they all loved working with him.”
Wagner is survived by his partner, Susan Kowal and his children Kurt Wagner, Leslie Wagner and Christie Wagner Lee and a granddaughter, Clementine Lee.
Barbara Isenberg is the author of “Making It Big: The Diary of a Broadway Musical,” and a former Times staff writer.
Reynolds’ improvisation in the Deadpool movies has been well-received by fans and critics. In fact, Deadpool co-writer Paul Wernick told The Hollywood Reporter in 2016 that the movie’s original screenplay was “one page, and it just said ‘RYAN AD LIB,'” further cementing that improv is already part of the franchise from the very beginning.
However, the ongoing Writer’s Guild of America (WGA) Strike presented a potential improv problem for Reynolds since a past report noted that the actor isn’t allowed to improvise.
Deadpool Creator Sheds Light on Ryan Reynolds’ Deadpool 3 Improv
Marvel
In a tweet, Deadpool comics creator Rob Liefeld addressed fan concerns about the previous Deadpool 3 update that Ryan Reynolds cannot improvise dialogue in the MCU threequel.
Liefeld pointed out that the fact that Reynolds wears a mask during production is actually an advantage, noting that the actor can “ad-lib like crazy” during post-production:
“I keep reading all this ‘Oh no, Ryan Reynolds can’t improvise on DP3 stuff…’ you know that he’s wearing a mask and that in post-production he can ad-lib like crazy. ADR is where really fun bits happen.”
This concern came from The Hollywood Reporter’s original report stating that the current strike rules (via the WGA) noted that a “non-writer director or producer can make small adjustments to the script under the (a) through (h) clause, a writer such as Reynolds would not be allowed to.”
Rob Liefeld’s latest comment may indicate that Ryan Reynolds’ improv will return in Deadpool 3, but not during production.
The comics creator’s statement about using ADR (automated dialogue replacement/additional dialogue recording) is a clever way to still include ad-libs of the actor in the movie.
However, there’s a slight challenge when using ADRs for the actor’s ad-lib. While this approach can benefit Reynolds, playing off the other actors involved in the scene with him might be tricky.
Despite that, the Deadpool movies proved that Reynolds’ Merch with a Mouth can do wonders with his comedic timing, and it will all boil down to a specific scene’s execution.
With the franchise’s future ties to its past still largely unknown, James Wan reveals he made changes to Aquaman and the Lost Kingdomto fit James Gunn’s new DC Universe. Jason Momoa’s Atlantean hero was previously part of the DC Extended Universe alongside the likes of Gal Gadot’s Wonder Woman, Henry Cavill’s Superman and Ben Affleck’s Batman, the latter two of whom appear to be done with the franchise as Gunn forges ahead with his vision. Despite this, Momoa’s Aquaman future has seemed secure alongside Ezra Miller’s Flash and Zachary Levi’s Shazam.
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In a career-spanning profile interview with The Hollywood Reporter, James Wan opened up about the ongoing shifts with the DCU following Gunn’s hiring as the co-head of the comic book franchise. When asked how Aquaman and the Lost Kingdom fits into these plans, the director confirmed changes were made to fit the “soft reset” coming with The Flash, but assured it didn’t overly affect the feel of the sequel. See what Wan explained below:
I’ve had to make adjustments all along the way. The DCU has been through lots of different versions, and one of the things that was challenging about this film was keeping track of what’s going on. Fortunately, the Aquaman universe is pretty far removed from the rest of the world. We’re going to many different underwater kingdoms that are not necessarily related to what’s happening with the other movies and characters, so we’re stand-alone in that respect. So I can just tell my story on its own without being affected too much, but at the same time, I have to be mindful of what’s been happening.
How Gunn’s DCU Will Connect To The DCEU
While not an outright confirmation of a future in the franchise, Wan’s explanation of how Aquaman and the Lost Kingdom was changed to fit Gunn’s DCU does indicate that Momoa’s Aquaman will continue past the upcoming sequel. Not only have Momoa and Gunn previously indicated talks between them of how to keep the actor in the DCU, but the latter has even confirmed that both The Flashand Aquaman sequel will lead into the first proper chapter of the new franchise, Superman: Legacy.
With Momoa expected to return, Shazam! Fury of the Gods‘ post-credits indicating Levi’s future with the Justice Society of America, and potentially Gadot’s ongoing tenure as Wonder Woman, and varying reports of The Flash featuring both Affleck and Michael Keaton’s Batman, the DCU’s ties to the DCEU have continued to confuse those who followed the latter. Given The Flash is diving into the multiverse, multiple creatives have confirmed it will act as a soft reboot for the entire franchise, though the extent of which remains a mystery with a couple weeks left until its release.
It’s understandable Gunn isn’t divulging the extent of his and Peter Safran’s plans for the DCU considering his desire for a decade-long tenure and busy schedule with Superman: Legacy, on which he’s writing, directing and currently casting, and Peacemaker season 2. As such, while theories and questions will continue to mount through The Flash until Aquaman and the Lost Kingdom‘s release, Wan’s confirmation of adjusting the sequel to fit Gunn’s plans is sure to keep fans of Momoa’s hero excited for the time being.
Twitter lost its executive in charge of content moderation on the platform, Ella Irwin, earlier this week. In another sign of instability in Twitter’s upper ranks, it looks like yet another top executive is leaving the company. The Wall Street Journal reports that A.J. Brown, who was in charge of Twitter’s brand safety and ad quality, decided to leave the company on Friday. Brown was reportedly in charge of making sure Twitter was a safe place for advertisers to place their ads. At the time of writing, she has not officially given a reason as to why she has decided to exit the company.
Since Elon Musk took over, Twitter has struggled to keep advertisers on the platform. It was reported earlier this year that over 500 of the company’s top advertisers have paused spending on the platform. At the time, Twitter owner Elon Musk said that the company planned to break even within the year.
It’s not just advertisers that have concerns about the future of the platform. Some brands and users have ultimately decided to abandon Twitter entirely over concerns over how Musk handles content moderation on the platform.
The departure leaves incoming CEO Linda Yaccarino in an interesting spot. Yacacarino, previously in charge of ad sales at NBCUniversal, has said in the past that brand safety is a top priority for advertisers. Given that advertising is Twitter’s main way of making money, it’ll be interesting to see how she handles this situation.
After Elon Musk’s takeover last year, Twitter seemingly has been in a scramble to try and keep the social media platform afloat. The company has reportedly let go of a vast majority of its workforce and cut off third-party app support. Not to mention, Twitter is charging an exorbitant amount of money for those who want to use its API and is trying to get users to pay $8 per month for a “premium” experience on the platform.
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Christopher Nolan’s Oppenheimer is gearing up to drop in theaters in less than two months. There is a lot to be excited about when we think about Nolan’s latest R-rated film, his first since Insomnia. From the double release with Greta Gerwig’s Barbie to using practical effects for explosions to using special-made cameras to capture the explosions in slow motion, we can’t wait to see what this three-hour, IMAX masterpiece has in store for us.
Nolan confirmed last month to Total Film magazine that Oppenheimer is the longest movie of his career, running shy of the three-hour mark. However, the IMAX film prints tell a different story.
According to the Associated Press, Oppenheimer’s IMAX prints are “11 miles of film stock” that “weigh some 600 pounds.” Typical of Nolan’s style, the auteur filmmaker used a few different types of film cameras to capture the explosive nature of Oppenheimer: the IMAX MKII, Panavision Sphero 65 with Hasselblad Lenses IMAX MKIV, Panavision Sphero 65 and Hasselblad Lenses IMAX MSM 9802, Panavision Sphero 65 and Hasselblad Lenses Panavision Panaflex System 65 Studio, a Photo-Sonics 35mm 4C high-speed rotary prism camera, and finally, Panavision System 65.
“We know it had to be a showstopper,” Nolan told AP. “We’re able to do things with picture now that before we were really only able to do with sound in terms of an oversize impact for the audience–an almost physical sense of response to the film.”
We already know that those practical explosions filmed with the rotary prism camera will look fantastic, but the remained of the film will engross the audience in the film. We will be seeing new cinema cameras being used for the first time, and, knowing Nolan, shots in IMAX that we’ve never seen before. Oppenheimer will be a cinephile’s greatest joy this summer.
“The sharpness and the clarity and the depth of the image is unparalleled,” Nolan said. “The headline, for me, is by shooting on IMAX 70mm film, you’re really letting the screen disappear. You’re getting a feeling of 3D without the glasses. You’ve got a huge screen and you’re filling the peripheral vision of the audience. You’re immersing them in the world of the film.”
BTS on ‘Oppenheimer’Credit: Universal Pictures
A film this big deserves the biggest screen and the best viewing experience. Universal Picture now has tickets available for the film in premium theaters such as IMAX 70mm, 70mm, IMAX digital, 35mm, Dolby Cinema, and more.
However, Nolan suggests to AP that the “best possible experience” for viewing Oppenheimer is the IMAX 70mm film format. However, that format only exists in 25 theaters across North America. Some of those venues include the AMC Universal CityWalk in Los Angeles, the AMC Lincoln Square in New York, the Cinemark Dallas, the Regal King of Prussia near Philadelphia, and the AutoNation Imax in Fort Lauderdale.
Get your tickets for Oppenheimer now before they are all gone!
Oppenheimer opens in all theaters in the US on July 21, 2023.
One of the most valuable items in The Legend of Zelda: Tears of the Kingdom, called a Light of Blessing, is given to players for finding the solution to Sihajog Shrine. Unlike other Shrines found across Hyrule, the main challenge here is finding Sihajog rather than solving puzzles. Players will need to go high into the air to reach this Shrine, which can be tricky given how scattered Sky Islands can be on the map.
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The exact location of Sihajog Shrine may be harder to find, but players can start looking around the South Lanayru Sky Archipelago to reach another area called Valor Island. Using the Mount Lanayru Skyview Tower in Zelda: Tears of the Kingdom launches Link into this area, allowing players to use their paraglider to control their descent to the Island. Here, players should try and reach the coordinates (4477, -0810, 1115).
How to Find & Solve Sihajog Shrine in Zelda: Tears of the Kingdom
Once players reach Valor Island, they must participate in something named the dive ceremony, which has Link skydive through a series of green hoops to activate Sihajog Shrine. Players must first speak to a Steward Construct NPC on the Sky Island, who informs them about this strange ceremony. After doing this, a small cutscene shows a diving-off point where Link must leap into the skies of Zelda: Tears of the Kingdom.
Players must pass a challenge called a dive ceremony to activate Sihajog Shrine by skydiving through several green rings that appear in the air as they fall.
The Construct will advise players to pass through all the rings, which show up as Link falls in Zelda: Tears of the Kingdom. By moving Link back and forth to fall in the center of the hoops, players should easily be able to reach another island far below where they started. Although many rock formations are obstacles during this free fall, players can follow a thin green line that helps point to the next hoop.
The last hoop leads to a circular pool, which players can land in without worrying about fall damage. Once the final green ring has been passed through, another brief cutscene shows the Shrine’s creation on the island.
Rewards For Solving Sihajog Shrine
Entering the Shrine leads to Rauru’s Blessing, a small area with a chest and altar that give players their rewards. Inside the chest, Link can grab a rare Diamond Material while the altar offers the Light of Blessing. However, players should note that they can complete the dive ceremony again in under 25 seconds to receive an even rarer reward, a part of the Glide armor set called the Glide Mask in Zelda: Tears of the Kingdom.
Players can exchange at least 4 Light of Blessings at any Goddess Statue in Hyrule to bolster Link’s health or stamina, making it a very useful reward for finding the solution to Sihajog Shrine in The Legend of Zelda: Tears of the Kingdom.
The Legend of Zelda: Tears of the Kingdom is the anticipated follow-up to Breath of the Wild, released in 2017. A rare occurrence in Zelda titles, Tears of the Kingdom is a direct sequel instead of loosely connected. In Tears of the Kingdom, Link will take to the skies and learn about a mysterious kingdom in the clouds. Additionally, he will discover the secrets of the dark ones that dwell below and above the earth. The sequel is being built on the same engine as the original, with unique physics tools again being utilized. However, little about the plot and gameplay is known.
The Supernatural prequel The Winchesters has truly reached the end of the road.
Sources confirm for TVLine that the freshman series — for which fans launched a “#SaveTheWinchesters” campaign just hours after its cancellation on May 11 — has failed to find a new home. And all shopping efforts have thus ended.
Soon after The Winchesters got cancelled (in one fell swoop along with Kung Fu), executive producer and Supernatural alum Jensen Acklestweeted, “Looks like we got work to do. #SaveTheWinchesters #spnfamily.” But to no avail.
Walker Independence, which is EP’d by fellow Supernatural alum/Walker star Jared Padalecki and also was axed after one season, has similarly been seeking a savior, but there is still nothing to report on that front.
According to our sister site Deadline, which first reported on The Winchesters‘ failed search for a new home, Superman & Lois and All American: Homecoming “are believed to have a chance” for renewal at The CW, which under new-ish owner Nexstar has been heavily reconsidering its priorities and spending. The freshman DC drama Gotham Knights is also still on the bubble.
The Winchesters‘ freshman season averaged 794,000 total viewers and a 0.2 demo rating (with Live+7 playback). Out of the 14 dramas that The CW aired this past TV season, it ranked No. 6 in audience and landed a four-way tie for No. 2 in the demo (trailing only All American).
During a post-mortem interview, showrunner Robbie Thompson told TVLine, “There’s so much more story to tell about where these two kids go. And because now, as Dean says at the end of the [Season 1 finale], they have a chance to write their own story that doesn’t have to be necessarily what happened on our version of Supernatural, we have an opportunity to really go into some interesting places.”
Nick Antosca is the creator, executive producer, and writer/showrunner for Peacock’s twisty limited series, A Friend of the Family, a true-crime story that seems stranger than fiction. It focuses on Robert Berchtold (played chillingly by Jake Lacy), a seemingly normal family man who ingratiated his way into the lives of another family, neighbors in Utah, and ultimately into a kidnapping not just once but twice of their young daughter Jan Broberg at two different points in her life — first when she was just 12 and again she was 14. That he was able to pull off this seduction/abduction two times is just one of the more bizarre points of the storyline, one that also involves her mother, Mary Ann (Anna Paquin), in a weird twist as well.
For Antosca, there is definite appeal in taking on limited series with unique true-life aspects, as he previously was behind the Jessica Biel-starring Candy and the Patricia Arquette-led The Act. All three of these projects are based on real stories with real people but in situations that if they didn’t happen you might find hard to believe.
Antosca joins me on my Deadline video series, Behind the Lens to talk about his fascination and approach to telling these tales and why there is much more there than meets the eye. To watch our conversation just click on the link above.
Join me every Monday and Friday during Emmy season for another edition of Behind The Lens.
Editor’s note: This episode of Behind the Lens was taped before the writers strike began.
Who has changed America? People who broke societal barriers and surpassed the limits of their craft to become AMERICAN MASTERS. Independent filmmakers share the powerful stories of our cultural giants.
American Masters presents these four documentaries for your Emmy® consideration.
The series has earned 78 Emmy® nominations and 28 Emmy Awards, including 10 for Outstanding Non-Fiction Series and five for Outstanding Non-Fiction Special.
We celebrate the talented producers, directors and team members who brought us these documentaries, available to view below.
For Your Emmy® Consideration:
AMERICAN MASTERS – Outstanding Documentary or Nonfiction Series:
Executive Producer, Michael Kantor
Series Producer, Julie Sacks
Dr. Anthony Fauci became a household name during the AIDS crisis of the 80s and 90s. The physician-scientist and immunologist has since served as the director of the National Institute of Allergy and Infectious Diseases and the Chief Medical Advisor to the President for seven different administrations in the U.S. In 2020, he found himself in the spotlight again as the COVID-19 pandemic ravaged the globe. Beginning with the inauguration of President Joe Biden and spanning two years, American Masters: Dr. Tony Fauci captures America’s most prominent physician, as he reflects on the pandemics that have shaped his 50-year career.
For Your Emmy® Consideration:
Outstanding Directing For A Documentary/Nonfiction Program – Mark Mannucci
Outstanding Cinematography For A Nonfiction Program – Jim Ball
Outstanding Picture Editing For A Nonfiction Program – Chris Kronus
Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score) – Aaron Keane and Jim Crew
From “The First Time Ever I Saw Your Face” to “Killing Me Softly” and beyond, Roberta Flack gave voice to a global soundtrack of beauty and pain, love and anguish, hope and struggle. American Masters: Roberta Flack illuminates where reality, memory and imagination mix to present music icon Roberta Flack, a brilliant artist who transformed popular culture, in her own words. With exclusive access to Flack’s archives of film, performances, interviews, home movies, photos, hit songs and unreleased music, the film documents how Flack’s musical virtuosity was inseparable from her lifelong commitment to civil rights.
For Your Emmy® Consideration:
Outstanding Directing For A Documentary/Nonfiction Program – Antonino D’Ambrosio
Dick Cavett, a writer for Jack Parr on “The Tonight Show,” met Groucho Marx at the funeral of playwright George S. Kaufman in 1961. When Cavett made the transition from writer to comedian in 1965, he was encouraged and mentored by Marx. In 1968, Cavett became the host of his own talk show and Marx became a frequent guest capturing what Cavett calls, “the last of Groucho’s greatness.” American Masters:Groucho & Cavett chronicles the pair’s relationship through new interviews with Cavett, footage from Marx’s visits to “The Dick Cavett Show” and other rare recordings.
American Masters: The Adventures of Saul Bellow illuminates how Bellow transformed modern literature and navigated through the issues of his time, including race, gender and the Jewish immigrant experience, through rare archival footage and interviews with Philip Roth, Salman Rushdie and many others. The film traces Bellow’s rise to eminence and examines his many identities: reluctant public intellectual, “serial husband,” father, Chicagoan and Jewish American. It also sheds light on his willingness to confront social issues, his criticisms of American society and materialism and his provocative political views.
For Your Emmy® Consideration:
Outstanding Cinematography For A Nonfiction Program – Avner Shahaf
Outstanding Picture Editing For A Nonfiction Program – Tal Rabiner
A BRIT dad has horrifically plunged 30ft from a balcony in Lanzarote just hours after he had arrived at the hotel.
Dan Boyle, 31, is fighting for his life after the shock fall on the first night of his week-long holiday with his girlfriend in Gran Canaria.
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Dan Boyle, 31, plunged over the third-floor balcony and suffered horrific injuriesCredit: Facebook
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He collapsed just hours after he had landed in Lanzarote with partner Ashleigh LomasCredit: gofundme.com
He was resuscitated on the pavement after tumbling over the third-floor balcony and suffering severe injuries.
The dad-of-two, from Stockport, Greater Manchester, was rushed to hospital with a fractured skull, a fractured breast bone and ribs.
Dan’s devastated family said it is believed his heart suddenly stopped as he was had pneumonia, although he was unaware of it.
Doctors suspect the chest infection caused his lungs to fill with fluid, resulting in him stumbling over the balcony.
The horror incident occurred just hours after he had landed in Lanzarote on April 23 with his partner Ashleigh Lomas.
The couple were accompanied by Ashleigh’s sister and her partner, according to the Manchester Evening News.
They are now scrambling to get Dan a specialist medical flight back to the UK for further treatment.
Friend of the family Toni Albiston has launched a GoFundMe appeal in a bid to raise the cash for the journey.
She explained the dad was flown to Gran Canaria – with flight medics fearing he might not make it – in the wake of his horror fall.
Dan then underwent surgery to relieve pressure on his skull and was placed in an induced coma over the last three weeks.
Toni said the couple’s insurance has covered the ongoing costs of his healthcare, but won’t pay for the specialist medical flight back home.
The father-of-two currently remains in hospital while Ashleigh returned home to their children, who were in the care of their grandparents, three days ago.
Toni said: “Dan was on the balcony and Ashleigh was inside the other room talking to her sister. This was on the first night.
“They had only been there for about six hours or so. Ashleigh came out to look for Dan and looked over the balcony to see him being resuscitated.
“We have been told a nurse was walking out of the hotel at the time and resuscitated him then called for help.
“When he got to hospital, Ashleigh was told that he had had a chest infection which was pneumonia. It caused his lungs to fill up with fluid and his heart to stop. They have told Ashleigh that it is possible that he is not going to be the same person when he gets better.”
The close pal said Dan is now in a stable condition but cannot talk or communicate.
She continued in the GoFundMe post: “He was flown over to Gran Canaria and was told he may not make the flight.
“But he made it there and went straight for brain surgery for a fractured skull and to relieve pressure on his brain.
“Then it was a case of getting the fluid drained from his lungs. He was on oxygen and in an induced coma for the past three weeks.
“His lungs are now stable and he is off sedation, but is still unresponsive. We don’t know if he’s going to be the same person due to the brain damage.”
Dan’s loved ones urged people to help “get Dan home” and to donate to the fundraiser – which has already earned £4,300.
Not every film he did was great, Tom Hanks admits.
In an interview published with The New Yorker on Sunday, Hanks said, “Let’s admit this: We all have seen movies that we hate. I have been in some movies that I hate. You have seen some of my movies and you hate them.”
Hanks was speaking on how a film should be judged. Instant reactions are common, he noted.
“Someone is going to say, ‘I hated it.’ Other people can say, ‘I think it’s brilliant.’ Somewhere in between the two is what the movie actually is,” he said, referring to it as “Rubicon No. 3.”
“The first Rubicon you cross is saying yes to the film. … You are going to be in that movie,” Hanks said. “The second Rubicon is when you actually see the movie that you made. It either works and is the movie you wanted to make, or it does not work and it’s not the movie you wanted to make.”
“The commercial performance of the film,” Hanks said, is the fourth Rubicon, “because, if it does not make money, your career will be toast sooner than you want it to be. That’s just the fact.”
And the fifth and final Rubicon is time. Hanks said a great example of that is holiday classic It’s a Wonderful Life, which grew in popularity after its 1946 release only after frequent television airings. Another example of that is his own 1996 film, That Thing You Do!, which he wrote, directed, and starred in.
“I loved making that movie,” Hanks said. “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.”
“Now the same exact publications that dismissed it in their initial review called it ‘Tom Hanks’ cult classic, That Thing You Do!’ So now it’s a cult classic,” he added. “What was the difference between those two things? The answer is time.”
In an SEC filing Friday, the company said that on May 26, 2023, it removed “certain produced content” from its direct-to-consumer streaming services. As a result, Disney will record a $1.5 billion impairment charge in its fiscal third quarter financial statements “to adjust the carrying value of these content assets to fair value.”
Disney said it’s continuing to review content on streaming platforms and “currently anticipates additional produced content will be removed from its DTC and other platforms, largely during the remainder of its third fiscal quarter.” As a result, Disney currently estimates it may incur further impairment charges of up to about $400 million related to produced content.
On Disney’s earnings call last month, CFO Christine McCarthy had said the company expected to take a write-down in the June quarter of $1.5 billion-$1.8 billion from removing content from its streaming platforms. By writing down the value of the content assets, Disney can remove that from its balance sheet and reduce its tax bill.
In its content purge last week, the media company pulled off more than 50 titles from Disney+ and Hulu, including series “Willow,” “The Mysterious Benedict Society” and “Dollface,” and movies such as “The One and Only Ivan.”
On Disney’s earnings call, CEO Bob Iger said he was “confident that we’re on the right path for streaming’s long-term profitability” and that as part of that the company would be “rationalizing the volume of the content we make and what we’re spending.” He also said the company expects to raise the price of Disney+ without ads later this year “to better reflect the value of our content offerings.”
Much has been written about why Season 1 of HBO’s “The Last of Us” succeeds on its own terms as television, not merely a narrative recreation of the Naughty Dog video game series. But the unique perspective of video games informs the show’s approach to both character and setting and makes its exploration of love after the end of modern civilization as consuming as the Cordyceps infection. Spoilers (and puns) ahead.
The show had the advantage of having one of the game’s creators, Neil Druckmann, as a showrunner, but also of having its other showrunner, Craig Mazin, know and love the experience of playing through “The Last of Us.” The team brought an existing emotional attachment to the game that came across in subtle moments, like when the game’s Ellie Williams, Ashely Johnson, appears in the series as Ellie’s mom and spiritually passes the baton to Ramsey with a heartbreaking, loving, “You fucking tell ‘em, Ellie.”
But the games’ level of detail and the player’s control over the environment also informed the kind of television world that Mazin, Druckmann, and “The Last of Us” team built. “I’m definitely the kind of player that tries to take advantage of all the little things that Naughty Dog leaves for you to look at, whether they’re interesting textures or bits of architecture or notes or discarded material,” Mazin told IndieWire’s Filmmaker Toolkit podcast, in an interview conducted before the Writers Guild of America went on strike.
“There’s also an opportunity [when playing the games] to look at the things you wanna look at. If you get to a place where you want to just take a moment and look around, assuming you’re not being, you know, chased. And that is an interesting thing. Sometimes you could just stop, and those moments were where I chose to stop and look around or think were a reflection of my experience playing it and a reflection of the moments that I think meant something to me.”
It took a cohort of DPs and artists across departments, but “The Last of Us” strove to suggest that same possibility of stopping, looking around, and finding a detail that is of interest.
“The obsession with detail and the general philosophical belief that you should never leave a blank space even if people won’t see it is something that we aspire to with the show,” Mazin said. “We try and fill in as much as we can so later, whatever angle we choose, we know there is stuff and that if people really look closely, they will appreciate little things.”
The same level of layering applies not just to what the camera can see but how it sees and situates characters in the frame. “So much of what we do is trying to figure out how to have an intention and then communicate that intention so that it is received,” Mazin said. “The more the camera moves around in camera-ish ways, the more the camera is positioned in a place that a human eye wouldn’t be, the more it feels like it’s being presented and I don’t want to present anything. I want people to feel like they’re in it.”
Feeling like we’re in it means stressing where the characters look and the moments they emotionally absorb whatever’s in front of them. The debris of the world before the Cordyceps outbreak is everywhere in “The Last of Us.” For as much as the show loves to go handheld and catch its actors up close in moments of extreme conflict, rarely does the background ever fade away.
“The Last of Us” Liane Hentscher/HBO
“What happens when people are adapting video games is they try and adapt the gameplay, but it’s not the gameplay that immerses you, I don’t think. I think it’s just the immediacy of the environment and your position in it,” Mazin said. “And the way to simulate that through a passive process like watching television is, I think, in part to shoot it in a way that feels non-presentational, non-stylized, bare bones in the sense of grittiness and reality.”
With such a solid visual representation of the world, “The Last of Us” has the freedom to create perspective shifts that broaden its scope, even if it means deviating from the games’ storyline. Episode 3 exists as it does in part, according to Mazin, because it was important for the audience to experience the breadth of the two decades post-outbreak.
“You can’t shift perspectives in the game. We can and we have to. And so in the game you meet Bill, he’s grouchy. He’s pissed off. He refers to a former partner. Then your relationship with him is really pegged to gameplay,” Mazin said. “What I wanted to do was say, ‘Let’s imagine what the story is of Bill [Nick Offerman] and Frank [Murray Bartlett] untethered from the game and use it to show the passage of time.’ I think that’s a useful thing for people to experience and to experience through a relationship.”
For Mazin, it all comes back to relationships, and the places where the show massively deviates from the games are ones where new relationship dynamics work as a tutorial of sorts. The positive example of Bill and Frank and the negative example of Kathleen (Melanie Lynskey) help us understand the shifts in Joel (Pedro Pascal) and Ellie’s relationship and how their love grows alongside their potential for violence on each other’s behalf. “If there’s no note from Bill, it’s over,” Mazin said.
Nick Offerman and Murray Bartlett in “The Last of Us”Liane Hentscher/HBO
The fantasy of complete power to protect who we love and kill whoever stands in our way is what’s so intoxicating about Westerns, the genre whose conventions “The Last of Us” most embraces once it crosses the Mississippi (John Ford wishes he gave Clementine Carter a horse named Shimmer). And if there is a thematic weakness in “The Last of Us” as a game, it is the nihilistic insistence of “Part II” that that Western strongman power fantasy is the most essential, reflexive core of human nature and not a choice shaped by timing, circumstance, and community, or lack thereof.
The show’s already done a more nuanced job of showing what revenge looks like when it becomes all-consuming and love becomes a tyrannical force. “Kathleen’s love for her brother, who was basically Jesus, has poisoned her blood to the extent that she cannot stop herself from avenging him. She doesn’t know how. Even if on some level she knows it’s wrong, she can’t stop. She is not in control of the depth and the profundity of her own love,” Mazin said. “And the grief that love caused is, again, one of the downsides of love: It rips our heart out when the people we love die.”
But there is a difference between devastation and destruction and it’s one that still matters, even in an apocalypse. Mazin, Druckmann, and director Jeremy Webb all take great care that, even within the chaos of the showdown in the cul-de-sac in Episode 5, the camera helps us track how Ellie perceives the Infected swarm. We watch Ellie watch Kathleen take her gun out to shoot Sam (Keivonn Woodard), her mind clouded by revenge even at the cost of her own survival. Ellie watches as it is one of the Infected kids who rips Kathleen’s face off. Ellie watches, and then she runs.
Jeffrey Pierce and Melanie Lynskey in “The Last of Us”Liane Hentscher / HBO
Kathleen’s, Ellie’s, and certainly Sam’s suffering in Episode 5 are not, in themselves, profound. Cruelty is shallow, and pain and grief are perfectly ordinary. Anyone, everyone, feels at least a kind of the all-consuming grief Kathleen does and anyone can take those feelings out on other people – just ask the Roy siblings. But what is profound about “The Last of Us” is what Mazin and Druckmann do with the interaction of all their characters’ love and fear: Show us how they always ripple outwards and affect (infect, perhaps?) other people.
This is done by the camera moving in a very involved way but focusing on characters at the moment they’re absorbing what someone else is saying or doing. “I’m a big believer that the times when things are most impactful to me is when I see somebody listening and being affected,” Mazin said. “It makes it less about a presentation and more about an experience.” Which means that, for all that the show’s camera likes to be moving and at the character’s level, the filmmaking on “The Last of Us” is always knit together through a multiplicity of perspectives. The camera always lets us see what Kathleen’s obsession no longer allows her to: Everyone in that musty Kansas City neighborhood is just as human as everyone else — especially the moment that the world’s new inhuman apex predators show up.
“The Last of Us” Liane Hentscher/HBO
There is one very key exception to this approach and it’s one that supports the show’s overall style by deviating from the rule: Joel’s assault on the Fireflies in the Salt Lake City hospital in Episode 10 to rescue Ellie. “We always intended that [that scene] would actually be presentational because what we wanted the audience to feel there was a dissociation from reality. Joel is dissociating. Those people aren’t people to him anymore,” Mazin said.
The presentational nature of the scene comes across partly from visual choices to focus on impressionistic, off-kilter details as Joel moves through the hospital. But amplifying the visuals and the sound cues to show Joel’s interior state only went so far in terms of making the scene feel like the tragic loss of control that it is. “It was feeling kind of traditional and we had tried lots of things and it was keeping me up at night because it was fine. It was fine. It just didn’t deliver that intention to me of dissociation and tragedy. What you’re watching is somebody lose themselves. They are giving something away permanently to preserve another thing,” Mazin said.
Mazin found another perspective to layer onto the sequence that does create the feeling of a loss of agency: the Gustavo Santaolalla soundtrack to the video game. “There’s this awesome track that’s married to you walking around, killing Fireflies on your way to rescue Ellie, and it’s very percussive and it’s very dark and it was awesome in the game. But then I just got towards the end and there’s the most beautiful rendition of this theme, ‘All Gone,’ that starts with a single cello note and grows into this full lamentation,” Mazin said.
“And I went back to our editor on that episode, Tim Good, and I said, ‘Well, this is a crazy idea, but don’t take this music and put it underneath [what we already have]. Take this music. Lay it out and then start again and see what happens, just with this feeling.’ And what emerged was something that we all thought delivered the intention and made [the scene feel] different. It connected you to the terrible sadness of what Joel was doing,” Mazin said. “In the game, that theme plays underneath after you save Ellie and you’re leaving. The game kind of lets you go, and underneath, the score is this commentary of this sad beauty.”
What happens in the hospital is arguably the boldest thing that “The Last of Us” does as a video game: It makes you put Ellie’s life ahead of humanity’s survival (assuming one buys this is, in fact, the only way to create a vaccine). There are no branching ending options depending on one’s total score. By shattering the show’s visual language into something that is impressionistic over realistic, and presentational, the HBO series creates the same effect on the viewer. It makes us feel the crushing violence and disappointment that, to paraphrase the old filmmaking cliche, there were a thousand ways for Joel to point his gun, but really only one.
“Loss of agency, to me, is what happens when love takes over a little bit. Like when, I don’t know, a fungus takes over. You’re not you anymore. You’re now being driven by something else that supersedes your morality, your rationality, your agency, and it’s so sad to me. It’s just sad,” Mazin said.
Film uses omission and inference, the life that happens in the spaces between cuts, for us to tell ourselves a story in our heads even as we’re seeing it play out on screen. Video games, by contrast, are the only art form where a player must act as an agent in the creation of a story. Mazin and Druckmann needed to translate that kinetic participation to a passive viewer medium, and they did it through the show’s use of multiple and layered perspectives. Even in telling Ellie and Joel’s story, the camera catches the echoes of hundreds of others and creates the sense that even more are waiting just out of frame — we just have to catch it on the next play-through.
Rozanda ‘Chilli’ Thomas is 1/3 of 90s girl group sensation ‘TLC’.
She’s also a reality TV star.
Chilli has had several high-profile relationships with famous men, including Usher.
She’s currently dating Matthew Lawrence.
Rozonda “Chilli” Thomas is a force to be reckoned with. As 1/3 of the 90s sensation TLC, alongside Lisa “Left Eye” Lopes and Tionne “T-Boz” Watkins, she rose to fame with hits like “Waterfalls,” “No Scrubs,” and “Creep.” At the height of their fame, the talented trio garnered an American Music Award, multiple Grammys, and a slew of MTV Video Music Awards. Their widely publicized bankruptcy, and Lisa’s tragic death in a car crash on April 25, 2002, presented challenges and grief for Chilli, but she went on to release a couple of solo singles and even appeared in the music video for Tyrese‘s hit “Nothing On You.”
She also starred in two seasons of a VH1 reality series based on her life called What Chilli Wants. Behind the scenes — and sometimes even in full public view — she also had a series of high-profile relationships with famous men. In fact, she’s currently dating actor Matthew Lawrence. Read on to find out about all of Rozanda ‘Chilli’ Thomas’ most serious romantic relationships.
Dallas Austin
According to The US Sun, Chilli dated TLC producer Dallas Austin throughout most of the 1990s — and he produced some of the group’s most memorable hits. During an episode of her reality series, she opened up about an abortion she had while with Dallas. She also admitted to deeply regretting the decision, and getting pregnant again with Dallas. They ended up having a son together.
“I was 20 and my career hadn’t really started, [and I got pregnant],” she said during the show, per Buzzfeed. “How do I do all that? How do I be a mommy? [The abortion] messed me up — it broke my spirit. I felt like I became not my strong self anymore. I felt like I gave in and broke [down] to what someone else wanted. I cried almost every day for nine years. And then I was caught up — I had to have a baby. I had to fix it, and the only way I could fix it was with him [Dallas]. I could only have this baby with him because the baby I didn’t have was with him. As time went on, I was able to break away from the relationship because I knew that he was always being true to himself — I was not. I was compromising who I was as a person to please this person, and I think so many women do that.”
The duo welcomed their son Tron Austin on June 2, 1997. Not long afterwards, they went their separate ways.
Usher
Shutterstock
R&B star Usherwas Chilli’s next serious relationship. Both were members of the LaFace Record Group, and the romance was natural. They began dating in 2001, and in the subsequent two years, she appeared in several of his iconic music videos, including U Don’t Have to Call, U Remind Me, and U Got It Bad.
They split in 2003, but she’s spoken out multiple times about how hard it was to get him out of her system, even admitted they were still in contact when he got married to now ex-wife Tameka Foster. “I love hard,” she told PEOPLE in June of 2023. “I was like, ‘God, why can’t I get over this? He couldn’t either.”
After it was over, she admitted, “I even stopped dating. Because before that I thought if I met the right guy during that time that I wasn’t over [Usher] it wouldn’t work. I would never want to straddle the fence.” She also revealed that they had “working chemistry.” “We definitely had some chemistry,” she explained. “But working chemistry does not mean it works in your personal life. If we were working, it was great. But outside of that, we’re so different.”
In a 2013 interview, she recalled their breakup as well. “We broke up because I guess it was that time or whatever…he was that real love for me,” she confessed to Us Weeklyat the time. “In any relationship, even when it came to my relationship with Usher, when it was time to make a move, I had to do that. I don’t care how much my heart was hurting, sometimes you’re just supposed to be with people for a reason and it’s not always a lifetime. Even if you want it to be, it just doesn’t work out that way.”
Nick Cannon
Unconfirmed reports emerged in July of 2016 that Chilli was “hanging out romantically” with serial dad Nick Cannon. “Nick and Chilli [have] been hanging out on the low, ” an insider reportedly told E! News. “[They’ve] been friends for some time and just recently this summer they have been hanging out romantically.” The source also said that “Chilli is a very mature woman that’s been around the music industry for some time and gets it,” and added the tidbit that “Nick has always had a crush on her growing up. He thinks she is beautiful.”
“They are not an exclusive couple at this time just casually hanging out and seeing where things go,” the source said. Neither Chilli nor Nick have ever addressed the dating rumors.
In May of 2023, she gushed about the fact that she hadn’t had a single fight with the Boy Meets World actor during their relationship. “I never thought the name ‘Matthew’ would make me blush so much,” the singer told PEOPLE. “I always thought he was cute.” She then added, “To this day we have not had one argument. I’m like ‘Matthew, it’s gonna happen one day, cause we’re going to be together forever.’”
Matthew seems to feel the same way. “My life is in complete bloom right now,” the TV star told ETback in March. “I get to spend time with an amazing woman like Chilli. I’ve never gotten to be able to experience that kind of relationship before. She’s really, really special.”
Though Cheryl seemed taken aback by Chilli and Matthew’s relationship, it didn’t emerge until nearly a year after they announced their split in February of 2022. Meanwhile, the TLC star has support from another of the most important men in her life — her son, Tron. “I just like seeing her happy, you know?” he told People during an April 2023 interview. “I wish them all the best and I think he’s a great guy.”
Aryan Khan began shooting for his directorial debut on June 2. (Photos: Instagram)
The announcement of Aryan Khan’s debut series – produced by Red Chillies Entertainment – was made back in December 2022.
It is no secret that unlike his father Shah Rukh Khan, Aryan Khan has decided to enter the showbiz world not as an actor but as a director. The starkid is working on his directorial debut which is reportedly titled ‘Stardom’. If a recent report by E-Times is to be believed, the shooting for Aryan Khan’s debut OTT project began on June 2.
Aryan Khan Begins Shooting For His Directorial Project
The entertainment portal claimed that Aryan Khan was shooting in Worli, Mumbai for his debut show on Friday (June 2) when his father, Shah Rukh Khan also paid him a surprise visit. Reportedly, King Khan cheered his son – who reached on sets much before the call time i.e. 7 am.
What Does Aryan Khan’s Debut Show ‘Stardom’ Revolve Around?
The announcement of Aryan Khan’s debut series – produced by Red Chillies Entertainment – was made back in December 2022. The title ‘Stardom’ reflects the central theme of the show, which delves into the world of the Indian film industry and explores the meaning of stardom. It will be a 6 episodic series.
‘Stardom’ To Also Star Shah Rukh Khan and Ranveer Singh?
Last month, Peeping Moon reported that the show will be headlined by young, promising actors along with some prominent faces such as Gautami Kapoor (Ram Kapoor’s wife), popularly known for her work on television shows like Kyunki Saas Bhi Kabhi Bahu Thi and Qubool Hai. Not just this, Aryan’s directorial debut will also feature Shah Rukh Khan and Ranveer Singh.
“SRK and Ranveer will be seen in different episodes, playing roles that are small but important in taking the story forward. It’s a special part, and both are excited to shoot for it under the direction of Jr. Khan,” a source cited by the entertainment portal claimed.
Meanwhile, Shah Rukh Khan also left everyone completely impressed in January this year when he made his comeback with Pathaan. Next, he will be seen in Jawan. He also has Dunki in his pipeline.
Chirag Sehgal, Sub Editor at News18, covers Bollywood, television and K-pop group BTS. Apart from digging deep into the world of television and Bollyw…Read More
Thirty years after “Cheers” came to an end, the cast and creatives got back together on Friday night, courtesy of the ATX TV Festival in Austin, Texas. The reunion panel, hosted by Variety‘s Michael Schneider, included co-creators James Burrows, Les Charles and Glen Charles and actors Ted Danson, George Wendt and John Ratzenberger.
During the conversation, the iconic creators reflected on the making of the show and the cast opened up about how they joined the series and how it’s affected their lives over the years.
“Teddy and Shelly auditioned together and they had chemistry that only makes writing better,” Burrows said of casting Danson and Shelley Long, who portrayed Diane Chambers, Sam’s love interest for five seasons.
For Danson, he praised Long, who wasn’t in attendance: “I don’t think we’d seen a character like that since Lucille Ball. I do believe I was on ‘Cheers’ because of Shelley, because Shelley was a knockout.”
The group also spoke about the difference in today’s sitcoms — and the lack of the multi-cam. “I’ve attended the funeral for a sitcom many times,” Burrows said. “Somehow it springs out of the coffin, but I’m not sure now. I don’t know what’s going on.”
Jack Plunkett, ATX TV Festival 2023
The creators also explained that after losing Nick Colasanto, who portrayed Coach in the series, the network wanted to bring in someone new and younger. They were casting a character named Woody and had already found who they thought they would cast. When they met Woody Harrelson, that all changed.
They also spoke about bringing in Kirstie Alley as Rebecca Howe in Season 6 after Long decided to leave.
“She’s not here. It’s very strange,” Danson said, getting emotional remembering Alley, who died in December of cancer. “She came in like a ball of fire… She was making her entrance into the table read and she put on a Shelly Long, blonde wig. We’re like, ‘OK, you’ll do great.’”
Meanwhile, for her first day, Wendt and Ratzenberger felt they should buy her something as the new woman on set — and settled on buying a shotgun. “We wrote on the card, ‘You’re gonna have to shoot your way out,’” Ratzenberger remembered.
When talking about the show ending, Danson admitted it was his call. “My life was a hot mess. I think I needed time to get my life together,” he said. “If I had kept going, I wouldn’t have met my wife Mary Steenburgen.”
“Of all the shows I’ve done — and I’ve done a lot — this will always be my fifth child,” Burrows said at the end of the panel.
“Cheers” aired on NBC for 11 seasons, from 1982 to 1993. It also led to the spinoff, “Frasier,” following psychiatrist Frasier Crane (Kelsey Grammer), returning home to Seattle. (A “Fraiser” revival, with Burrows directing, is set to return later this year on Paramount+.)
Before the cast and creatives took the stage, ATX TV Festival hosted a pilot script reading with celebrities taking on the parts of the main cast. David Walton read for Sam, Cassidy Freeman read for Diane, David Lascher read for Coach, Christina Vidal read for Carla, Chris Estrada read for Cliff, James Lafferty read for Sumner, Harold Perrineau read for Norm, Ronald Gladden read for Ron and Ashley Fink read stage directions.
This take on the classic Marvel Comics character entered the fray looking and acting a little bit different than what fans were used to, being described by Poulter as having “[came] out of the oven early and isn’t fully baked.”
Thanks to a number of recently released concept pieces for Guardians of the Galaxy Vol. 3, fans have gotten the chance to see a series of rejected designs for Will Poulter’s Adam Warlock.
Concept artist Jerad S. Marantz shared a look at Poulter’s hero, which – while looking different – does feature notes of the version of the character that made it to the screen.
The Guardians concept artist wrote that he “got to do some early designs for Adam Warlock,” calling the experience of working with Marvel Studios a ” huge honor:”
“I got to do some early designs for Adam Warlock for ‘Guardians of the Galaxy Volume 3.’ It’s always such a huge honor working with the team over at Marvel visual development. Big thank you to Andy Park for bringing me on for this incredible project. The final design for Adam warlock was done by my good friend Constantine Sekiris!”
Marvel Studios
Marantez posted two versions of the MCU character, one with a cape and armored shoulders, and another slightly more stream-lined take.
Marvel Studios
Marvel Studios shared other alternate looks for the golden antihero, one being from MCU artist Aleksi Briclot with a messy head of hair:
Marvel Studios
Another unused design gives Warlock his own spacesuit helmet and a wide glider-like cape:
Marvel Studios
Marantz also revealed (via his personal ArtStation) early concepts for some alternate powers for the Guardians 3 character.
Marvel Studios
These rejected powers included the character’s ability to seemingly steal the soul of foes in a manner that looks pulled straight out of a Doctor Strange film.
Marvel Studios
The character can be seen teleporting pieces of an enemy’s body as well, in some sort of disintegration process.
Marvel Studios
And the last of Marantez’s concept pieces sees Sovereign’s Avatar of Life blasting a repulsor beam that warps space and time around a specific target.
Marvel Studios
Artist Aleksi Briclot also shared his take on the iconic Marvel character in a look that very closely resembles the final design, albeit with ever-so-slight differences in the character’s upper arms, legs, and hair.
Marvel Studios
On the keyframe (which he uploaded to Instagram), Briclot remarked that he “really [loved] the movie:”
“A keyframe done for ‘Guardians of the Galaxy Vol.3’ directed by James Gunn for Marvel Studios. Really glad and proud to discover the result on the big screen! Really love the movie! Under Andy Park lead.”
In a lengthy caption, Sekeris lamented the “idea behind his design” was to ” reflect Queen Ayesha of the Sovereign Race” so audiences could easily discern she was “his mom:”
“Hello all……been a while since I posted …..here is Adam Warlock concept design I did for ‘Guardians of the Galaxy vol 3’ working at Marvel studios in Vis Dev lead by Andy Park…….the idea behind his design was that he had to reflect Queen Ayesha of the Sovereign Race so u can connect that she is his mom….we did do a lot of early exploration of his comic design u will see in time…..”
Marvel Studios
He added that Adam Warlock was “such a cool character to realize” and “[he’s] happy [he] was able to be a part of this stunning film:”
“Such a cool character to realize and James Gunn directed a beautiful film….I’m happy I was able to be a part of this stunning film…..everyone involved did such an amazing job…..want to also give a shout out to Costume Designer Judianna Makovsky and her team for doing a superb job on his suit and also to Production designer Beth Mickle and her team for such beautiful work……..Actor Will Poulter is so great as Adam warlock…please go see it if u haven’t already …I say this alot im greatful and honored to work with top notch talent I get to learn from and b a better artist…….more to come humbly thanks……….”
The Many Faces of Adam Warlock
An exciting part of the Marvel Studio process is getting to see what could have been after the fact with, what has turned into a regular parade of concept pieces being posted by the talented artists that make these movies.
These sorts of rejected designs are valuable resources, showing just how much work goes into getting the look of a character or locale up on-screen.
What is notable about these Adam Warlock designs specifically is the fact that none of the deviate too far from what ultimately made it into the movie.
Sometimes with the sharing of these concept designs, entirely bizarre and unique versions of these MCU characters can come to light (ie Simu Liu’s Shang-Chi and Corey Stoll’s MODOK).
How the creative process of coming up with the look of Will Poulter’s Marvel hero may have differed from others, was the fact that the art team was not just pulling from the comics for inspiration.
The Flash director Andy Muschietti and producer Barbara Muschietti had no Plan B should Batman Returns star Michael Keaton have said “no” to reprising the DC role all these years later. Speaking with Collider, the Muschietti’s revealed that, had Keaton not been interested in donning the cape and cowl again, The Flash would have ended up completely different. As Barbara Muschietti explains it…
“We wouldn’t have made this movie. We wouldn’t have been able to make this movie as it is. We made it clear to him the first time we sat with him for lunch if he had said no, it would have been a completely different story.”
With multiversal madness on the mind, Andy Muschietti chimed in, believing that somewhere out there exists a version of The Flash without Michael Keaton’s Batman. Perhaps it has George Clooney’s Batman variant instead.
“In the Multiverse, there’s probably a version of this movie without Michael Keaton.”
Barbara even suggests that, had Keaton said “no thanks,” the Muschietti’s would not have even been involved saying “[Laughs] But we were not attached,” with Andy adding “Somewhere in the Multiverse.” Considering that The Flash has been met with far more delays than most, we can only wonder if the movie would ever have made it to the big screen had Keaton shown the Muschietti’s the door.
MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
Michael Keaton Returns as Batman After More Than 30 Years
Warner Bros. Pictures
Thankfully, Michael Keaton was eager to play Batman again, with The Flash marking the actor’s return to the world of DC after more than 30 years. And it has been clear from the start that The Flash hinges a lot on Keaton’s Batman return. The marketing for the movie has put a lot of focus on the comeback of his aged Dark Knight, with the character playing a major role in the story and helping Barry Allen fix the multiverse. At one stage, there were even plans in place for Keaton to become the main Batman of the DCU, appearing in the canceled Batgirlmovie and Aquaman and the Lost Kingdom.
However, with James Gunn and Peter Safran now in charge, this will no longer be the case, with The Flash likely to be the last time we see Keaton suit up as The Caped Crusader.
Directed by Andy Muschietti from a screenplay by Christina Hodson, The Flash finds Barry Allen aka The Flash traveling back in time to prevent his mother’s murder. Instead, he finds himself trapped in an alternate reality and must enlist the help of his younger self, an older Batman, and the Kryptonian castaway Supergirl in order to save this world from the restored General Zod and return to his universe.
Starring Ezra Miller as Barry Allen aka The Flash alongside Sasha Calle as Supergirl, Michael Shannon as General Zod, Ron Livingston as Henry Allen, Maribel Verdú as Nora Allen, Kiersey Clemons as Iris West, Antje Traue as Faora-Ul, and both Michael Keaton and Ben Affleck as alternate versions of Bruce Wayne/Batman, The Flash is scheduled to be released in the United States on June 16, 2023.
Blizzard has released the first post-launch update for Diablo 4.
While the game isn’t on general sale until next week, players who bought the Deluxe or Ultimate edition were granted early access from June 1 at 4pm PST / 7pm EST (June 2 at 12am BST).
Blizzard said Diablo 4’s first update, which makes changes to two classes as well as enemy health, is a server-side hotfix which occurs in the background.
Among the changes, which are republished in full below, the Sorcerer’s Flame Shield is now placed on full cooldown after initially being equipped into an enchantment slot.
And there’s now a four second delay before another enemy is marked after the Rogue’s Inner Sight unlimited energy expires.
Diablo 4 update notes
Sorcerer Class Specialization
Flame Shield Enchantment
When Flame Shield is initially equipped into an Enchantment slot, it’s placed on full cooldown.
Rogue Class Specialization
Inner Sight
After Inner Sight’s unlimited Energy expires, there will be a 4 second delay before another enemy becomes marked.
Items Shout Skill Cooldown Reduction
This affix will no longer appear on items.
Miscellaneous
Monster health values have been increased in later World Tiers.
VGC’s 5-star Diablo 4 review said the game sees Blizzard back on top form.
“Diablo 4’s always-online requirement is a shame, and a few of the classes are somewhat slow to kick into high gear, but we’re only able to muster minor complaints for what is easily a game-of-the-year frontrunner, and Blizzard’s best game since Diablo 3.”
As always, there are a lot of rumors surrounding Apple’s upcoming Worldwide Developers Conference scheduled for June 5th, 2023. Will we get a long-rumored 15-inch MacBook Air? Will Apple unveil new Mac desktops with new high-end M2 Max and M2 Ultra chips? Will Steve Jobs return from the dead to introduce an iZombie smartphone app that turns us all into the walking dead which he controls from his Apple Watch?
So many questions that need answers! So many rumors to ruminate on…
Ultimately we’re all in the dark until Apple’s Keynote and State of the Union presentations kick off next week. However, we can certainly share some of the rumors we’ve found swirling around—as well as give our own hopes and expectations for this year’s WWDC.
What Can We Expect from Apple’s WWDC 2023?
From all of the Mac Rumors and message board fuss online, it doesn’t appear that this will be the biggest WWDC ever. The highlights are very likely to be centered around some new MacBook and Mac desktop announcements. As well as the announcement of Apple’s VR headset which will steal most of the headlines and highlights (more on the VR headset below).
However, for filmmakers and video professionals, the most exciting news tidbits might have to do with which Mac desktops end up featuring Apple’s high-end M2 Max and M2 Ultra chips.
There have been Bloomberg reports of these new chips possibly bringing additional processing power to an updated suite of Mac Studio desktops. We’ve also seen speculation that Apple could couple these newer chips with a new Apple Silicon Mac Pro and make that one of their flagship computers for high-end processing and video editing.
Could a M2 Ultra 16-inch MacBook Pro be the big story?Credit: Apple
An M2 Ultra 16-inch MacBook Pro?
Perhaps the biggest rumor for video pros and editors alike would see an M2 Ultra chip being added to the 16-inch MacBook Pro (as the M2 Max was added before it). From the same Bloomberg reports, this new M2 Ultra could have 16 performance cores and eight efficiency cores (an upgrade of the four from the M1 Ultra), up to 76 GPU cores, and up to 192GB of RAM.
This could potentially be a great addition to any video pros workflow as all of these M2 chips will have more efficiency cores, more GPU cores, and overall a higher maximum RAM ceiling when contrasted to any of the previous M1 chip versions. All great news for video professionals making the MacBook Pro their preferred workhorse laptop at home or on set.
Apple has also apparently leaked plans of accepting trade-ins of current M1-based Mac Studio models starting next week as well. Not officially signifying anything just yet, but a good sign of some new Mac Studio desktops should be coming as well.
The Anticipated Apple VR Headset
Now, we can’t talk about Apple WWDC rumors without at least mentioning the anticipated unveiling of Apple’s VR headset. Years in the works, this AR / VR headset should be the biggest news, and depending on how things shake out, potentially Apple’s greatest product ever or a huge flop — or, you know, maybe just something in the middle?
As you can see in the video above though, expectations are all over the place in terms of just how functional and perhaps necessary an Apple VR headset might end up being. But is it truly anything new? Is it truly something that people will want today? Is it something that developers outside of Apple will spend the time to build out apps, games, and more?
Is there anything about an Apple VR headset that might help film and video professionals?
All those are questions best answered after the announcements come. However, as rumors continue to swirl we can’t help but get a little bit excited about what we’ll find out here soon.
What are you potentially most excited about for WWDC? Let us know your thoughts, fears, and expectations in the comments below.
President Joe Biden delivered his first speech to the nation from the Oval Office Friday night to celebrate a “crisis averted” by agreeing to a bipartisan measure to prevent a government default – and reactions to the speech, and the bill itself, are about as divided as the country itself. Not that there wasn’t a lot of Biden fandom online.
“Kevin McCarthy went to the White House to negotiate with ‘Sleepy Joe Biden’, but he met with Dark Brandon instead. Dark Brandon woke his ass up!” one Twitter user wrote, referencing the liberal meme that imagines Biden as a supernaturally powerful politician.
While another responded to criticism from Florida Gov. Ron DeSantis: “Hey small man, can you name any of these failures that President Biden has supposedly had? Because what the majority of the country sees is a guy doing an incredible job repairing the damage from the fourth failed Republican administration in a row since 1980.”
Here are a few of the many other pro-Biden tweets:
Somehow got this deal done, passed a bipartisan agreement on infrastructure as well. The old dude is doing alright.
President Biden is a classy, intelligent, competent, and wise leader ? He’s the only one trying to bring back bipartisanship and decency in our highest office.
Now that the debt ceiling bill was approved by the Senate, Biden is set to sign it Saturday, just two days before the Treasury Department warned that the country would go into default. The agreement raises the debt limit until 2025 and and gives legislators budget targets for the next two years.
“Passing this budget agreement was critical. The stakes could not have been higher,” Biden said, adding, “Nothing would have been more catastrophic” than defaulting on the country’s debt.
Pundants on both sides of the aisle have been critical of the agreement that was hashed out between Biden and McCarthy, with all parties saying the lawmakers negotiated away too much.
Marking the end of the first month of the ongoing writers’ strike, on Friday two members of the Los Angeles City Council who represent most of Hollywood introduced a resolution in support of striking writers. If the resolution is passed, the city’s legislative body would formally call on studios to return to the negotiating table with the Writers Guild of America.
The bill was introduced by Hugo Soto-Martinez, who represents District 12 (which includes parts of Hollywood where Netflix and Paramount are based), and Katy Yaroslavsky of District 5, which covers a significant portion of the west side of the city and also includes the headquarters of FOX and CBS.
Yaroslavsky said the resolution would serve as “a proud declaration of solidarity with working families across Los Angeles,” according to Spectrum. Soto-Martinez called it “a fight for the future of Hollywood.”
Read the full text of the proposed resolution below:
WHEREAS, the Writers Guild of America West (WGAW) and the Writers Guild of America East (WGAE) (jointly WGA), which collectively represent over 11,500 writers in film and television across the country, are currently without a contract and on strike; and
WHEREAS, the WGA’s reasonable demands to the major media companies that employ their members – including Disney, NBC Universal, Paramount, Netflix, Apple and Amazon – have not been met; and
WHEREAS, writers are facing the most comprehensive assault on their compensation and working conditions in a generation. Media companies have taken advantage of the industry’s transition to global streaming to underpay workers. As a result, writers are doing more work for less pay and with less job security; and
WHEREAS, this erosion of writer pay and working conditions has happened while their employers collected almost $30 billion in entertainment operating profits each year from 2017 to 2021; and
WHEREAS, without writers, the entertainment industry would not have stories to tell; and
WHEREAS, Los Angeles is the entertainment capital of the world, and has a vested interest in the sustainability of that industry’s workforce; and
NOW, THEREFORE, BE IT RESOLVED, that by the adoption of this resolution, the Los Angeles City Council urges the Alliance of Motion Picture and Television Producers to come to the bargaining table and reach a fair deal with the workers of the WGA.
The writer’s strike began May 2 when talks between the WGA and the Alliance of Motion Picture and Television Producers, which represents the studios, broke down.
For all of TheWrap’s WGA strike coverage, click here.
The Supernatural franchise is coming to end — at least for now — as The Winchesters has not been able to get a second season anywhere. Producing studio Warner Bros. Television’s efforts to set up the Supernatural prequel series at another network or streaming platform following its cancellation by the CW have been unsuccessful. All possible avenues have been exhausted, and the search for a new home has come to an end, despite a strong #SaveTheWinchesters campaign led by series executive producer (and Supernatural star) Jensen Ackles.
On New Year’s Day, Peacock dropped the first three episodes of its true crime series “Paul T. Goldman,” a documentary loosely based on Paul Finkelman’s semi-autobiographical self-published book. The show, utilizing reenactments and behind-the-scenes shots, has the eccentric Finkelman telling the story of his relationship with his second wife, whom he believed was living a double life as a prostitute, dating her pimp and running an international sex trafficking ring.
It was directed by “Borat Subsequent Moviefilm” director Jason Woliner, who brought an ambitious use of satire to the streaming platform. Finkelman’s unique delivery and distorted facts and his attempt to set the record straight in the form of a movie that he directs and writes himself, starring himself, creates an unconventional type of nonfiction storytelling. Still, Peacock and Woliner saw it as a documentary and decided to submit it for Emmys consideration in outstanding documentary or nonfiction series. However, not everything works out the way you hope.
After submitting, the TV Academy rejected the bid, but Woliner and Peacock persisted, submitting a petition to override the ruling. In the filing the petition, Woliner highlighted past docuseries like HBO’s “The Jinx” as references. Part of the document read: “Robert Durst isn’t forthright in The Jinx, but Andrew Jarecki allows him to speak and tell his version of his story and then presents facts that counter it. That is the same approach I took with Paul Finkelman in this series. Using a very common true crime documentary approach, I attempt to hook the viewer in by presenting Paul’s unchallenged perspective first before questioning, countering, and debunking his statements and introducing other real people’s accounts – along with factual evidence that our team collected from thousands of pages of court records, police reports, and other material – to arrive, by the end of the series, at the objective truth.”
Woliner also compared the documentary style to “Hearts of Darkness: A Filmmaker’s Apocalypse” and “The Beatles: Get Back.”
The peer group rejected the bid, stating: “The series is Paul’s one-sided account of what he says happened to him, which doesn’t fall under documentary programming. Even the series itself calls into question if the content is factual.”
The lines between fiction and non-fiction and documentaries and reality TV have become increasingly blurred. That evolution is evident in shows such as Amazon Freevee’s mockumentary “Jury Duty,” which features an unknowing citizen (Ronald Gladden) participating in a fake court case. That series was successfully submitted as a comedy series, where it’ll face off against scripted shows like “Abbott Elementary” and “Ted Lasso.” However, Gladden’s acting submission would likely have not been accepted in the lead comedy actor category because he’s not “acting.” So don’t look for his name to be called on Emmy nomination morning.
With “Paul T. Goldman” now rejected for documentary, the creatives asked the TV Academy where it would be allowed to compete.
The next logical place was in the newly titled scripted variety category (formerly sketch series), where it would stand alongside NBC’s “Saturday Night Live” and HBO’s “Last Week Tonight with John Oliver,” which was moved into the category by the TV Academy this year. Creatives were told by the TV Academy that would not be an option for the series as it lacks “scripted” elements.
That left the options of the main series races — drama, comedy and limited. Peacock and Woliner confirm to Variety exclusively that the show will compete for outstanding limited or anthology series, with its central figure, Paul Finkelman, angling for an acting nom against contenders Evan Peters (“Dahmer – Monster: The Jeffrey Dahmer Story”) and Taron Egerton (“Black Bird”).
Woliner is “baffled” at the TV Academy’s refusal to accept it as a documentary series. “I’m well aware that it’s an unusual show, but in the decade-plus that I worked on it, I’ve always considered the project a documentary,” Woliner tells Variety. “In an era where similar formally-experimental documentaries like “The Act of Killing” and “Exit Through The Gift Shop” have received Oscar recognition, it’s disheartening that the Television Academy seems stuck in a rigid, outmoded view of what filmmaking tools a doc series can use to explore truth.”
“Borat Subsequent Moviefilm” netted two Oscar noms for supporting actress (Maria Bakalova) and adapted screenplay with many of its elements improvised. While a nomination for “Paul T. Goldman” may seem like a long shot, the debate highlights the need for the TV Academy to remain flexible in allowing shows to compete that align with the vision of the creatives that made them.
In addition to Woliner, the show is executive produced by Seth Rogen and Evan Goldberg, who owns the production company Point Grey Studios. Additional executive producers include James Weaver and Loreli Alanis for Point Grey, Megan Ellison for Annapurna, and Michael Sagol and Bert Hamelinck for Caviar. Tyler Ben-Amotz produces for Caviar.
Elliot Page’s new memoir, Pageboy, comes out next week—which means that excerpts from the non-fiction book are already starting to spread online. The book details Page’s life in the entertainment industry, starting from when he was a child star, up through coming out as gay in 2014 and as trans in 2020. As revealed by a recent conversation with People, the book explores Page’s first romantic relationships in Hollywood—and the backlash he got from a “Famous Asshole At A Party” when he first came out as gay.
John Hughes says the director called his Ferris Bueller performance “boring”
That is, in fact, what the chapter of the book is called—“Famous A—hole At A Party”—and it involved said asshole, described as an “acquaintance,” coming up to Page and saying, “You aren’t gay. That doesn’t exist. You are just afraid of men.” The man in question then followed that comment up with one that was even more aggressive and threatening, telling Page, “I’m going to f—k you to make you realize you aren’t gay.”
Page says he encountered the man a few days later at the gym, where the famous asshole tried to assert that “I don’t have a problem with gay people, I swear”—which Page responded to with “I think you might.”
Writing in the book, Page says:
I’ve had some version of that happen many times throughout my life. A lot of queer and trans people deal with it incessantly. These moments that we often like don’t talk about or we’re supposed to just brush off, when actually it’s very awful. I put that story in the book because it’s about highlighting the reality, the s—t we deal with and what gets sent to us constantly, particularly in environments that are predominantly cis and heterosexual. How we navigate that world where you either have more extreme, overt moments like that. Or you have the more, like, subtle jokes. [In Hollywood] these are very powerful people. They’re the ones choosing what stories are being told and creating content for people to see all around the world.”
“I’m purposely not sharing his name. But he will hear about this and know it’s him.
You can hear more takeaways from Page’s book—including his deep love for former co-stars Catherine Keener and Kristen Wiig—over at People.
New York based-filmmaker Jon-Sesrie Goff traces his family’s roots in the Gullah community of South Carolina in “After Sherman,” a title evoking the Civil War general. The film is more poetic than didactic as it connects the past to the present.
Trevor Harris made a brief – but perfect appearance for the Saskatchewan Roughriders as the visitors downed the Winnipeg Blue Bombers 28-16 in pre-season action Friday night.
The new Roughriders quarterback guided the offence on its first possession to a nine-play, 83-yard TD drive that ended with a Derel Walker five-yard touchdown catch at 7:46.
The big free-agent acquisition completed all four of his pass attempts for 72 yards and then made way for Mason Fine.
Saskatchewan played most of its projected starters, while the Blue Bombers sat key players on both sides of the ball and it showed in front of a crowd of 24,654 at IG Field.
Winnipeg starting quarterback Zach Collaros didn’t play, while receivers Dalton Schoen and Nic Demski also missed the contest.
On defence, Bombers defensive back Deatrick Nichols was absent, defensive lineman Jackson Jeffcoat is injured and middle linebacker Adam Bighill hasn’t practised during training camp.
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RAW: Blue Bombers Mike O’Shea Interview – June 2
Saskatchewan led 6-0 after the first quarter, 15-3 at halftime and 21-9 after the third.
Fine threw a five-yard TD pass to Kalija Lipscomb late in the second quarter. The backup QB ended the night 9-of-13 passing for 86 yards.
Roughriders veteran placekicker Brett Lauther had a rough first half, missing two converts and a field goal, but he made up for it by connecting on kicks from 51, 32 and 33 yards.
Bombers placekicker Sergio Castillo hit a 29-yard field goal at 1:38 of the second quarter.
Dru Brown started for Winnipeg at quarterback and was replaced by Tyrrell Pigrome in the third quarter. Brown completed eight of 15 pass attempts for 69 yards.
Pigrome, who’s fighting for the third quarterback spot, showed his scrambling strength again and guided the Bombers to two TDs.
The Alabama native engineered a nine-play, 70-drive capped by a five-yard TD catch by Amare Jones at 9:25 of the third. Chandler Staton missed the convert and Saskatchewan’s lead was cut in half to 18-9. Pigrome also handed off the ball to Jordan Salima, who ran four yards untouched into the end zone at 1:40 of the fourth. Marc Liegghio’s convert made it 21-16.
Pigrome then made way for Josh Jones and finished 5-of-6 passing for 65 yards, along with five carries for 43 yards.
RAW: Blue Bombers Tyrrell Pigrome Interview – June 2
Saskatchewan short-yardage quarterback Shea Patterson plunged in for a one-yard TD with 4:10 left in the fourth. David Solie made the convert for the 28-16 lead.
NOTES: The Bombers were auditioning three punters, including returnee Liegghio and global players Jamieson Sheahan and Karl Schmitz … Bombers defensive back Matt Cole showed some fleet feet, returning a missed Roughriders’ kick 64 yards. The rookie out of Illinois also took a kickoff 20 yards until a Winnipeg illegal block penalty called it back.
Jennifer Aniston is one of the most famous actresses of all time.
She has been married twice but never had kids.
Jen has opened up about her child-free life several times in response to society’s double standard they place on women.
Her most recent movie, Murder Mystery 2, premiered on Mar. 31, 2023.
JenniferAniston, 54, has been on a roll with her roles in blockbuster television shows and films as of late. Her Emmy Award-winning show with Reese Witherspoon, The Morning Show, will be returning with a third season, and her highly anticipated movie with Adam Sandler, Murder Mystery 2, premiered on Mar. 31, 2023. “It just feels like that kind of period right now is feeling really great about every single thing,” the Friends alum noted to PEOPLEin Mar. 2023 about her recent work. “I’m very grateful.”
While Jen has filled nearly every role under the sun, one title she does not have is that of “Mom.” Jen has faced years of scrutiny and questioning about her decision to not have children, and she has naturally handled it with grace. HollywoodLife has gathered all the moments the Golden Globe Award-winning actress has spoken out against the rampant sexism still prevalent in our culture and how her child-free life shouldn’t be a notable characteristic.
Jennifer Aniston Isn’t Putting Pressure On Herself To Find The One
Jennifer Aniston attends the 75th Anniversary celebration of NBC at Rockefeller Plaza, NY, 2002 (Matt Baron/BEI/Shutterstock).
For right now, the Just Go With It actress is single and happy to be — even though her friends have offered to set her up before. “Not right now,” she told radio host Howard Stern in Oct. 2019 after he offered to find a great guy for her. “But listen, I just don’t like being set up. I don’t like it. Hate it.”
Jen simply doesn’t feel the need to put that kind of pressure on herself, and the same goes for dating apps. “Absolutely no,” she told PEOPLEin June 2021 after she was asked if she would be interested in online dating. “I’m going to just stick to the normal ways of dating. Having someone ask you out. That’s the way I would prefer it.”
“I’m interested in finding a fantastic partner and just living an enjoyable life and having fun with one another,” she continued. “That’s all we should hope for. It doesn’t have to be etched in stone in legal documents.”
Jen was famously married to Brad Pitt between 2000 and 2005. She went on to tie the knot with Justin Therouxin 2015, but they split just two years later.
Jen Aniston Said She Wanted Kids In 2005
Following her divorce from the Ad Astra star, Jen denied that they separated due to her lack of desire to start a family. “A man divorcing would never be accused of choosing career over children. That really pisses me off,” she vented to Vanity Fair in 2005 before revealing that she does in fact plan to have kids. “I’ve never in my life said I didn’t want to have children. I did and I do and I will!”
She went on to say that women who have successful careers and children inspire her. “Why would I want to limit myself? I’ve always wanted to have children, and I would never give up that experience for a career,” she explained. “I want to have it all.”
On the topic of kids, Jennifer told AP, via Yahoo News in Mar. 2023, that kids today find her former hit show, Friends, offensive. “There’s a whole generation of people, kids, who are now going back to episodes of Friends and find them offensive,” she explained. “There were things that were never intentional and others… well, we should have thought it through — but I don’t think there was a sensitivity like there is now.”
Jen Tries To Ignore The ‘Silliness’
Jennifer Aniston arrives at the 77th Annual Golden Globe Awards in 2020 (Shutterstock).
Unfortunately, having your love life publicly examined and speculated about is part of the territory of being a celebrity. Jen knows this first hand, as she has been subject to relationship and even pregnancy rumors for years. “Sometimes you can’t help family members or people sending stuff over going, ‘What is this? You’re having a baby? Are you getting married?’” she recalled in her 2021 chat with PEOPLE. “It’s like, ‘Oh, good gosh, when and how many years will it take for you to ignore that silliness?’” she quipped.
In 2014, the California native said she doesn’t see a timeline for herself when it comes to starting a family. “I don’t have this checklist of things that have to be done and if I’ve not checked them, then I’ve failed some part of my feminism or my being a woman or my worth or value as a woman because I haven’t birthed a child,” she told Carson Daly on TODAY.
Jen Is Over The Pressure To Have Kids
Jennifer Aniston at the 4th Annual Patron of the Artists Awards, 2019 (Matt Baron/Shutterstock).
“[I don’t] like [the pressure] that people put on me, on women — that you’ve failed yourself as a female because you haven’t procreated. I don’t think it’s fair,” Jen said in a Dec. 2014 interview with Allure. “You may not have a child come out of your vagina, but that doesn’t mean you aren’t mothering — dogs, friends, friends’ children.” She added, “This continually is said about me: that I was so career-driven and focused on myself; that I don’t want to be a mother, and how selfish that is.”
The Cake actress also confirmed in 2014 that having kids wasn’t at the top of her and Justin Theroux’s priority list when they were together. “I just find it to be energy that is unnecessary and not really fair for those who may or may not [have children],” she told PEOPLE. “Who knows what the reason is, why people aren’t having kids. There’s a lot of reasons that could be, and maybe it’s something that no one wants to discuss.”
More recently, in Dec. 2022, Jen told Allure that she actually once tried to conceive via IVF. “All the years and years and years of speculation… It was really hard. I was going through IVF, drinking Chinese teas, you name it. I was throwing everything at it,” she explained. “I would’ve given anything if someone had said to me, ‘Freeze your eggs. Do yourself a favor.’ You just don’t think it. So here I am today. The ship has sailed.” The starlet clarified that despite that, she still has no regrets. “I have zero regrets. I actually feel a little relief now because there is no more, ‘Can I? Maybe. Maybe. Maybe.’ I don’t have to think about that anymore,” she concluded.
Jen Is Happy With Her Life Decisions
Jennifer Aniston pictured in 1998 (John Barrett/Shutterstock).
Jen admitted in a 2021 interview that she used to get offended by speculation about why she didn’t have kids. “I used to take it all very personally — the pregnancy rumors and the whole ‘Oh, she chose career over kids’ assumption,” she told The Hollywood Reporterin Dec. 2021. “It’s like, ‘You have no clue what’s going with me personally, medically, why I can’t … can I have kids?’ They don’t know anything, and it was really hurtful and just nasty.”
The LolaVie founder also touched on the double standard she has experienced in terms of getting asked about having kids in comparison to other entertainers.“It’s the same with Dolly Parton; Dolly Parton never had kids,” she said. “But are people giving her s*** for it? No, no one’s tried to put her in a white picket fence.”
Moreover, the Dumplin actress penned an open letter for The Huffington Post in 2016 that clearly and beautifully made a statement about the sexist double standards placed on women regarding having families and raising children. “We are complete with or without a mate, with or without a child … that decision is ours and ours alone,” she wrote. “We don’t need to be married or mothers to be complete. We get to determine our own ‘happily ever after’ for ourselves.”
Jen Aniston Has A Sweet Relationship With Courteney Cox’s Daughter
Coco Arquette and Jennifer Aniston leaned on each other for support as they watched Courteney Cox accept a star on the Hollywood Walk of Fame in Feb. 2023 (Photo: John Salangsang/Shutterstock)
Sydney Sweeney is opening up about the first time her family watched Euphoria and said a few family members didn’t get very far.
During a preview clip for an upcoming episode of Sunday Today with Willie Geist, the Reality actress said her mother knew what to expect of her role in the Sam Levinson-created risqué series.
“My mom visited me on set at the time, so she like knew the story and I talked to her a lot about it – my dad didn’t,” Sweeney explained. “I didn’t prepare my dad at all.”
Sweeney said she didn’t really know how to bring up the HBO show to her father in conversation. “When I talk to my dad, it’s usually not about work,” she added. “We talk, like, father-daughter conversations.”
But the Anyone But You actress said her dad ended up deciding to watch the popular drama anyway “without telling me, with his parents.”
Since they didn’t know what to anticipate from the series and Sweeney’s Cassie, which follows a group of high school students as they struggle with issues of drugs, sex and violence, she said, “My dad and my grandpa turned it off and walked out.”
“But my grandma … she’s a big supporter of mine,” the star added. “She’s a big fan of mine. Actually, I bring her, usually, all over the world to my different sets and I make her an extra.”
Euphoria, which also stars Zendaya, Hunter Schafer, Jacob Elordi, Angus Cloud, Maude Apatow, Alexa Demie and Barbie Ferreira, has been renewed for a third season, although a premiere date has not been set.
YouTube is reversing its policies on election misinformation. Starting today, YouTube will stop removing content that “advances false claims that widespread fraud, errors, or glitches occurred in the 2020 and other past US Presidential elections,” according to a blog post published on Friday.
YouTube says that 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.” YouTube first introduced its election misinformation policy in December 2020, which barred users from posting content that spread false claims about the integrity of US elections. The platform says it has removed “thousands” of videos since implementing the policy.
“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 states. “As with any update to our policies, we carefully deliberated this change.”
Despite the policy reversal, YouTube says it will continue to enforce rules that prevent users from discouraging others from participating in an election. It will also take action against content that aims to mislead users about the time, place, or requirements for voting as well as content that disputes the validity of mail-in voting. Additionally, YouTube says it still prominently surfaces content from “authoritative sources” in search results and recommendations.
Stranger Things 4 blasted the biggest horror of the Upside Down into fans’ faces last year. Vecna was quite unique himself, just like his name, and was deadlier than any of the creatures people saw before. This murderous sociopath could target people with fragile mental health to overpower their minds and ultimately kill them. The audience has seen how he crushed his screaming victims, popping their eyes out and bending their bones.
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His power of mind control is something that sent chills down the spines of viewers who just watched the show from the comfort of their homes. However, the creators are giving the switch of all these powers to the hands of fans. The ultimate chance of taking a peek into the mind of the antagonist, which even Eleven couldn’t do.
Fans can become Vecna of Stranger Things in a new world
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Stranger Things creators recently dropped a clip on social media inviting fans for a deadly adventure. The post gave a glimpse of the video game that was announced a few weeks back as a gift to the viewers, since they will soon say goodbye to the show. The clip depicted the animated version of Upside Down and Hawkins.
Mind Flayer and Demogorgon attract the human world when 001 pulls the strings from behind, since he controlled the whole realm with his dark psychological powers. So people might be thinking that players would have to fight with these monsters and Vecna. But this time the plot is twisted more twisted than one could imagine because players will be the antagonist instead of the hero.
Through this game, fans will get to explore the perspective of a monster and how his mind works. So this might be the chance for people who believe Vecna is not the villain as this VR comes with a lot of perks too.
Players have the chance to understand young 001 with this game
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Based on the megahit show, this VR will give fans the opportunity to relive Henry Creel’s memories when he was living with Dr. Brenner. Not just that, they can also manipulate the minds of their favorite characters for Vecna’s bidding. From harnessing the powers of the most powerful villain to experiencing adventures of different worlds, there is a lot to explore.
The Stranger Things VR is now available for pre-booking at a limited-period discount until it launches this fall. Meanwhile, it is important to note this game is only for 18+ because of the extreme violence and goriness.
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Are you excited to be a part of this new world? Drop your comments below.
The area also has its share of stately brick mansions that make you wonder who lives there, or used to. Often, it’s someone well-off, but occasionally it’s a someone someone. Power players in media, politics and entertainment — like Madeleine Albright, Ben Bradlee, Katherine Graham, John Kerry, Joe Lieberman and Elizabeth Taylor — have called Georgetown home. But it wasn’t always Washington’s glamour spot.
“Georgetown was kind of a dump in the early 20th century,” said George Derek Musgrove, the co-author of the 2017 study “Chocolate City: A History of Race and Democracy in the Nation’s Capital.”
The old houses had largely fallen into disrepair, and the neighborhood was home to working-class Irish and African Americans. Then, with the explosion of government hiring during the New Deal, Ivy League graduates moved in. They fixed up their homes in an array of styles until the national craze for historical preservation took hold. In 1950, “Old Georgetown” was designated a federal historic district, with all the restrictions on home modification that entailed.
“By thetime you get to 1960, and John Kennedy leaves his Georgetown mansion on N Street for the White House, you just couldn’t afford to get in if you wanted to,” Mr. Musgrove said.
A lot of the residents support efforts to keep things more or less the same. Catherine Emmerson, whose family lives close to Dr. Howard, helped start the Prospect Street Citizens’ Association a few years ago to stop a condo conversion that would have blocked local residents’ views of the Potomac River.
When the Transformers arrived, the group had a new target.
It’s not that the association was against celebrating film history. In fact, its members argued that the condo conversion would have threatened something that ought to be a landmark (and now is): a set of steep steps on Prospect Street, built in 1895, that appeared in “The Exorcist.” (Think: tumbling priest.)
Warning – The rest of this article contains spoilers for Spider-Man: Across the Spider-Verse
Following the release of Spider-Man: Across the Spider-Verse, actor Jack Quiad announced his involvement in the film marking his Marvel debut.
Quaid took to Twitter, posting that he is “technically IN Spider-Verse“ and cannot say ” enough good things about [the] movie:”
“Saw ‘Spider-Verse.’ Loved Spider-Verse. I’m technically IN ‘Spider-Verse’ (for like a second). I can’t say enough good things about this movie. Go see it, it’s unbelievable. Congrats to the amazingly talented team behind it.”
Quaid plays the small but important role of Gwen Stacy’sPeter Parker on Earth-65, whose death was teased in the first film and then fully explained in the recently released sequel.
During the opening of the film, Quaid gets a few lines as Hailee Steinfeld’s Gwen walks audiences through her origin story one last time.
She reveals Quaid’s take on the classic character, who is her best friend, becomes the iconic Spidey villain the Lizard in her universe, ultimately leading to his death.
This version of Peter develops the Lizard serum to hopefully be great like his wall-crawling best friend; however, due to unforeseen consequences, takes on the form of a ravenous giant reptilian during a high school dance.
After battling Peter in lizard form, Steinfeld’s Gwen is witness to the roof collapsing on her best friend, killing him in the process.
Another Peter Parker Cameo Revealed
In a similar fashion to Chris Pine’s appearance in Into the Spider-Verse, Jack Quaid joined the blink-and-you’ll-miss-it Peter Parker cameo club.
Fans already knew the gist of Spider-Gwen’s origin story, thanks to the comic book origin story rundown the character got in the first film. But what moviegoers were given in Spider-Verse 2 was a full-on deep dive into the past trauma that make Hailee Steinfeld who she is.
It was a move that covered a lot of the same beats as before, but recontextualized it thanks to a voice and face being given to her late best friend that was only teased in Into the Spider-Verse.
Although if Marvel was to want to bring the Boys actor back, it feels as though he would be game for hopping back into the super-powered world (as Peter Parker or not).
He did a pretty bang-up job in the relatively short screentime he got, and if Marvel was wanting to work on a Spectacular Spider-Man-style animated series (outside of the MCU), Quaid would not be a bad name to keep in mind to voice the titular web-slinger.
Spider-Man: Across the Spider-Verse is playing in theaters worldwide now.
Every major Arrowverse hero received a happy ending except one member of the franchise’s Justice League.
The Arrowverse already reached its end after The Flash‘s explosive finale on The CW. The final season of the Grant Gustin-led series was the last one to pay tribute to the Arrowverse, and it came afterSupergirl and Arrow ended on their own terms.
One Arrowverse Hero Didn’t Receive a Proper Ending
DC
Caity Lotz’s Sara Lance had an eventful journey throughout her time in DC’s Legends of Tomorrow. The character went from an assassin to the Waverider’s captain, cementing herself as an important Arrowverse hero.
In Legends of Tomorrow‘s Season 7 (aka the show’s final season in The CW), Sara and Ava Sharpe made a big step when it was revealed that the former was pregnant with the latter’s baby. This was made possible when Sara was reborn as a human-alien hybrid that had the DNA of Gary’s species.
However, the show’s Season 7 finale revealed that Booster Gold betrayed the Legends, leading to their arrests by the time police. Thus, it is unknown if Sara could successfully conceive her baby with Ava, leading to more questions than answers.
But what about the endings of the other titular Arrowverse heroes?
Barry Allen – The Flash
DC
Fresh from its final season, Grant Gustin’s Barry Allen from The Flash had a perfect ending after nine incredible seasons on The CW. After making a truce with Eddie Thawne (the new Avatar of the Negative Speed Force), Barry was able to witness the birth of his daughter, Nora West-Allen.
Barry and Iris finally had their happy ending during the Season 9 finale, and the perfect icing on the cake was the Scarlet Speedster’s passing of the torch moment when he shared his powers with three new potential heroes of Central City (Avery Ho, Max Mercury, and Jess Chambers).
Oliver Queen – Green Arrow/The Spectre
DC
Oliver Queen’s Green Arrow is the one who started it all. In fact, the whole franchise is named after his show.
During the Crisis On Infinite Earths crossover event, Oliver died twice by sacrificing himself to save Earth-38 from the Anti-Monitor’s forces and as Spectre after defeating the Anti-Monitor while starting a new Multiverse.
Although Oliver met his demise, the character was able to successfully pass the mantle to his daughter, Mia Queen. Arrow‘s series finale also revealed that Oliver was able to spend the rest of his time with his wife, Felicity, in the afterlife.
Kara Danvers – Supergirl
DC
In Supergirl Season 6, Kara Danvers was struggling with the idea of carrying a double life, which took its toll when her former boss, Cat Grant, hired her to become CatCo’s Editor-in-Chief.
However, after some pep talks with Cat and Lena Luthor, Kara ultimately revealed her identity as Supergirl to the world, finally finding her much-needed peace of mind.
Ryan Wilder – Batwoman
DC
Although Batwoman was canceled by The CW, Season 3 showed that Ryan Wilder’s titular vigilante managed to defeat Marquis Jet (the show’s version of Joker) and save Gotham City again.
Batwoman‘s Season 3 finale also unveiled that Ryan and Sophie’s relationship is stronger than ever, wrapping up the pair’s arc in a perfect way.
Jefferson Pierce – Black Lightning
DC
Black Lightning ended its run in Season 4, showcasing a happy ending to its titular hero.
After successfully defeating his longtime rival Tobias Whale, Jefferson Pierce retired as Black Lightning and remarried his ex-wife, Lynn. Jefferson’s daughters, Thunder and Lightning, took over protecting the city.
Although Sara Lance didn’t have a proper ending at the end of Legends of Tomorrow, the Arrowverse proved that the Multiverse has endless possibilities, meaning that the former Waverider captain could’ve had a happy swan song in one of the alternate Earths.
DC’s Legends of Tomorrow is available to stream on The CW app.
In today’s Entertainment Fix:
A new book detailing the chaotic behind-the-scenes drama of the show “Lost” is making waves on the internet. Many people involved in the show, including writers and actors, have reportedly been witness to—or victims of—racism, sexism, and abuse on the set or in the writers’ room. Lost co-creator and co-showrunner Damon Lindelof has responded to these allegations, and admitted that he failed to create a better working environment. In slightly lighter news, the Black Mirror’s dystopian visions of society return next month in a brand new season, and Nintendo and Universal’s The Super Mario Bros. Movie is making some real money at the box office, two months after its release.
Crafting horror can be done in a few ways, but a jump scare will always be a classic horror tactic.
Rob Savage is a multi-award-winning director and writer who is known for his films such as Host, Dawn of the Deaf, and Dashcam. His recent film, The Boogeyman, is a classic horror movie based on a short story written by Stephen King. The Boogeyman will be in theaters on June 2, 2023.
In this episode, No Film School’s GG Hawkins and director Rob Savage discuss:
Rob’s intention for how we wanted the film to be perceived
The themes of grief and poor communication throughout the film
How the teenage character helped to bridge two opposite perspectives
Rob’s process for crafting scare scenes
Figuring out different modes of terror for different scenes
Why you need to focus on one idea versus having too many options
What the emptiness of the house represents
Giving the actors the opportunity to move things around their set bedrooms
Greta Gerwig wanted to live out her own personal pink-filled “Barbie” fantasy.
The writer-director behind the highly anticipated live-action film based on the Mattel dolls detailed her vision behind the elaborate Barbie Dreamhouse that the titular doll (Margot Robbie) lives in. In fact, the over-the-top dedication to bringing the whimsical dolls to life led to an international pink paint shortage.
“Maintaining the ‘kid-ness’ was paramount,” Gerwig told Architectural Digest. “I wanted the pinks to be very bright, and everything to be almost too much.”
She added that the details were meant to capture what “made me love Barbie when I was a little girl.”
Production designer Sarah Greenwood revealed that the production led to a shortage of the fluorescent shade of Rosco paint. “The world, ran out of pink,” Greenwood said. Greenwood previously told IndieWire that “pink became the film’s thesis” when designing the look of the ensemble film.
Inspiration for the aesthetic of the Dreamhouse ranged from “Pee-wee’s Big Adventure” to “An American in Paris.” The architecture of the house itself was rooted in midcentury modernism found in Palm Springs. The set was constructed at the Warner Bros. Studios lot outside of London and included a hand-painted backdrop in lieu of CGI.
“We were literally creating the alternate universe of Barbie Land,” Gerwig told AD. “Everything needed to be tactile, because toys are, above all, things you touch.”
The “Little Women” auteur noted that “authentic artificiality” was key. “I wanted to capture what was so ridiculously fun about the Dreamhouses,” she said. “Why walk down stairs when you can slide into your pool? Why trudge up stairs when you take an elevator that matches your dress? There are no walls and no doors. Dreamhouses assume that you never have anything you wish was private — there is no place to hide.”
A new report in Puck claimed that Cruise has personally called rival studio executives and exhibitors in hopes of convincing them to relinquish PLF (premium large-format) screens that may have planned to show “Oppenheimer” and show “M:I 7” instead. Beyond the visual impact those screens provide, they also come with an upcharge that can add millions to the box office — especially for an action spectacle like a seventh “Mission: Impossible” movie.
Christopher Nolan’s “Oppenheimer,” his first film for Universal after parting ways with longtime partner Warner Bros., will take over all IMAX screens in North America for three weeks, bumping “Mission: Impossible” from auditoriums. (Unlike “M:I 7,” “Oppenheimer” was shot entirely on IMAX large-format cameras.) Audiences will line up to see the Oscar-nominated filmmaker’s recreation of an atomic bomb without CGI on the biggest screen possible. Cruise’s death-defying stunts in which he once again outdoes himself will, too, want to be seen in large formats. (Let’s also note that “Oppenheimer’s running time hits 3 hours; the new “Mission: Impossible” clocks in at 2 hours and 43 minutes.)
Universal and Paramount declined comment. Warner Bros. Discovery (which distributes “Barbie”) did not respond to calls at press time. Cruise’s representative also had no comment.
Universal and Christopher Nolan claimed the July 21, 2023 date all the way back in October 2021 — back when the studio announced the film’s production. Nolan’s fondness for the third Friday in July is also well-established: It’s been a favored date for him ever since the days of “The Dark Knight” in 2008.
For Cruise, it seems that’s not the same thing as a “no.” It’s not unusual for a producer to aggressively screen a movie for exhibitors, but it’s surprising to have a producer-star personally make entreaties to win back movie screens.
An IMAX representative told IndieWire they’re fully committed to the three-week “Oppenheimer” plan, which constitutes about 1,550 of IMAX’s total 1,700 venues worldwide. (The atomic bomb epic still awaits dates in top markets China and Japan.) An IMAX takeover of this length is rare, although the company prioritizes films shot on its own cameras (such as “Oppenheimer”). “Avatar: The Way of Water” ran on IMAX screens for eight weeks starting last December, while “Dune: Part One,” even with a day-and-date HBO Max release, ran for three in 2021.
Tickets for “Oppenheimer” went on on sale yesterday, days after the movie about the creator of the atomic bomb received an R rating (Nolan’s first since 2002’s “Insomnia” and 2000’s “Memento” before it). That might make it one of the widest IMAX openings for an R-rated movie ever. “Oppenheimer” comes with 11 miles of film stock and a $100 million production price tag ahead of print and advertising spends.
At CinemaCon 2023, Paramount exhibitors revealed that the new “Mission: Impossible” would actually open two days earlier than scheduled, on July 12 instead, in an effort to drum up premium theater attendance and word-of-mouth as the summer movie season hits full swing. Tickets haven’t gone on sale for “M:I 7” yet, but both movies will need all the PLF help they can get
After multiple COVID shutdowns on production, “M:I 7” production costs come in at $290 million for Paramount. The prior film in the franchise, “Fallout” from 2018, made $791 million worldwide on a budget of $178 million.
Securing those IMAX and PLF screens made a big difference for something like “Avatar: The Way of Water,” which made over $100 million of its $2 billion total from IMAX screens alone.
And while Cruise’s box-office haul for “Top Gun Maverick” ($1.493 billion globally) is in a league of its own, it was able to leg out in part because it had little box-office competition. Cruise surely has a chip on his shoulder; even Steven Spielberg told him earlier this year that he “saved Hollywood’s ass” with the “Top Gun” sequel after it became the largest post-pandemic grosser prior to “Avatar: The Way of Water.” That said, “Top Gun: Maverick” was pushed out of premium venues two weeks later by “Jurassic World Dominion” (Universal).
The press spin ahead of the summer movie season has been that the same-date “Barbie” and “Oppenheimer” will be the double-header to beat. But “Oppenheimer” and “M:I 7” arguably tick more boxes in four-quadrant audience appeal, especially among fanboys. “Dead Reckoning” will surely follow a similar trajectory as “Top Gun: Maverick,” but it faces a much more crowded summer.
Tony Maglio and Tom Brueggemann contributed reporting.
On Manifest Season 4 Episode 18, Mr. “No Honor Among Thieves found himself walking down the aisle with the biggest lunatic to grace the small screen.
Was he deranged? Was he playing Angelina at her own game? It was hard to tell, but his actions following the nuptials were the deciding factor.
It seems Eagan has been in cahoots with Adrian all along and is planning Angelina’s downfall — at least, that’s the only message to take from it.
Adrian has been crafty in the past by working with Angelina, but he realized the error of his ways on the first half of Manifest Season 4.
Sometimes, you need a nudge to know when you’re being taken for a ride, and Adrian showing up might have shown Angelina that her new husband is not to be trusted.
Eagan undoubtedly married Angelina to be deemed one of the eight people who witness the end of the world, but I couldn’t shake the feeling he would pull a knife out and kill her to send the narrative in a different direction as we approach the series finale.
You never know what’s going on with this show, and that’s part of why it’s been such a success story.
Autumn will probably be mouthing “told ya so” to Angelina at the beginning of Manifest Season 4 Episode 19, but Angelina will be too busy trying to comprehend why Eagan lied to her.
Then it also raises the question: What if Adrian asks to replace Eagan as one of the eight to kick things up a few gears?
The only thing that could save Eagan at this point is if Adrian knows about the D.C. and what really happened to Astrid.
Troy: Only way out is to create a diversion. I’m assuming you didn’t bring any smoke grenades. Saanvi: Troy, what? What are you talking about? Troy: I’m saying I care about all you guys so much. Especially you. You have a chance to save the world. My freedom for yours. Easiest decision I’ve ever made. This would’ve been cooler with smoke grenades.
Man, poor Astrid. Thankfully, she had Drea, Jared, and Saanvi looking after her, or Angelina would have gotten her sordid wish.
It was about time Saanvi returned. I figured she’d be off working with Gupta to find out the truth, but in reality, she wasn’t doing much besides hurling orders at our favorite lifesaver.
Troy stepping in to sacrifice his freedom for Saanvi’s was surprising because I expected an eleventh-hour revelation about him to render him a villain.
Please don’t ask me why, but I’ve learned not to trust anyone with this show.
That’s the rule, I guess.
Saanvi’s return to the D.C. and witnessing how well everyone brought unity to the place was fascinating.
She had been struggling to keep hope that they would survive the death date. She also had no clue how Ben and the others were faring.
Putting Troy’s theory to the test seemed too easy initially, but after witnessing her defeat and then subsequently getting the result she wanted will give her a nice confidence boost as we head into the endgame.
All right, listen up, folks. I know we’re tired. It’s been a long, long month of working the Callings, but this is it. Final push. Our survival, and it seems the survival of the whole world, depends on every one of us committing to doing the right thing.
Ben
Her surprise hookup with Ben gave me pause, mainly because I thought the teases about a potential pairing would never amount to much.
Sometimes, fan service doesn’t benefit shows in the long run, but Ben and Saanvi have so much chemistry and understand each other very well.
Will they become a full-fledged couple? I don’t know, but hey, you might as well have fun when the world is ending.
This young man has been through the mill, so it was heartbreaking hearing people begin to doubt his callings and the information he was relaying to them.
Everyone has a limit, and Cal was emotionally and physically at his limit.
He’s being given short answers and even bigger questions, but now that he has the dragon symbol, maybe he’ll get a last-minute epiphany that saves the world.
Michaela’s journey to forgive herself for Evie’s death has been in the works since Manifest Season 1.
It’s hard to let go of the past, especially if you feel responsible for causing others pain.
Saanvi: They’re still locked in. Ben: You did what you could, all right? Saanvi: We all did. What if there’s no answer? What if this is the end? Ben: Then we went down fighting.
Michaela is going through a lot, and if she dies with everyone else two days after this breakthrough, I’m glad she’s going out while feeling at peace with her decisions.
It’s hard watching her have to navigate this new dynamic between Drea and Jared because their child is on the way, but at least Jared showed her that he still wants to be with her.
As we head into the final two episodes, I have no clue how this will go, but I’m ready to be wowed by the end of this journey.
There are high expectations because we know that this story has been intricately plotted to bring everything full circle, but we don’t know whether there will be happiness in the end.
If anything, all of these characters deserve peace. Wait, not Angelina. She deserves pain. Seriously, we need something terrible to happen to her to compensate for all the despicable things she’s done over the years.
What are your thoughts on the set-up for the two-part series finale?
Why do you think Adrian showed up after the wedding?
Do you think it will be a competition between Eagan and Adrian to be the eighth person?
Are you happy Michaela finally let go of her guilt?
What’s your take on that steamy hookup?
Hit the comments.
Manifest is now streaming on Netflix.
Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.
To mark the 25th anniversary of the “SATC” premiere, Eichner spoke with People magazine about the impact of seeing real gay bars onscreen in the New York City-based HBO series.
“My girlfriends and my gay friends were the exact right people to be pulled in by ‘Sex and the City,’” Eichner said. “I would have people over to my apartment every Sunday night and we would watch it religiously. It was one of the only shows that created what, at that time, felt like a more authentic — not perfectly authentic — look at gay men and our relationships with women.”
The “Bros” star added, “The conversations the women were having felt like conversations that I was having with my friends. You just never saw them depicted that way. It was representing women and gay men, to a lesser degree, but to much more of a degree than existed in TV and films at the time.”
Eichner recalled one of his earliest “SATC” memories of seeing Stanford (Willie Garson) going to a gay bar in his underwear.
“You did not see many shows at that point that had scenes at gay bars, let alone with guys standing in their underwear for Underwear Night. The fact that Stanford was going to gay bars felt so radical and really pulled me in,” Eichner said. “I immediately knew, because I’d been there several times, it was shot at an actual gay bar in Chelsea in New York called Barracuda, which is still there. I’ve been to that bar with my friends, but to actually see it on TV in a mainstream show starring Sarah Jessica Parker on HBO, I took notice. This is before texting, but I remember calling my friends — both my girlfriends and my gay friends — and saying, ‘You guys have to watch this show.’”
Eichner credited “SATC” for inspiring his film “Bros,” saying, “‘Sex and the City’ is really one of the great modern romantic comedies, even though it’s a series. It’s that mix of fantasy and reality, which is what the great romantic comedies are.”
And Eichner’s rant about movie “Sex and the City 2” helped propel his web series “Billy on the Street” into a TV show.
“The one that went the most viral was the one that I did where I went out and defended ‘Sex and the City 2,’” Eichner said. “I genuinely loved the show so much and was willing to follow it anywhere. The head of Funny or Die at the time, who’s now the CEO of Funny or Die, Mike Farah, that’s the video that inspired him to email me and say, ‘Hey, I really like what you’re doing. We should work together.’ I said to him, ‘Well, what if we try to turn this into a TV show?’ So it had a very specific, hugely influential moment in my life.”
“Sex and the City” sequel series “And Just Like That” returns for Season 2 on June 22.
On Friday, Shultz pleaded guilty to three charges — two felonies, one misdemeanor — of attempted criminal possession of a weapon, criminal possession of a firearm, and criminal possession of a weapon in exchange for avoiding time in jail, his attorney Sanford Talking confirmed to Rolling Stone.
“Matt has worked hard to put this case behind him. He appreciates the opportunity to prove himself,” Talking tells Rolling Stone. “Nothing like this will never happen again. He can move forward in his life and with his music.”
Judge Cori Weston told the musician that if he “stays out of trouble for one year,” he’ll be able to wipe his record and withdraw his guilty plea on the two felony counts, therefore reducing his sentence to one-year conditional release for the misdemeanor, his lawyer confirmed.
If Shultz does not follow the guidelines, he could face seven years in prison, per New York Post.
Trending
According to Daily Mail, a hotel employee reportedly saw the singer carrying a handgun into one of the restrooms, before calling 911. (A manager for the Bowery told Rolling Stone in January they “weren’t sure who that is” before hanging up the phone.)
The musician was charged with criminal possession of firearms after police found Shultz’s guns — a Sig Sauer and a Smith and Wesson, per Daily Mail — inside of his room at the Bowery Hotel in Lower Manhattan. He was arrested on Jan. 5, and spent the night behind bars at the 9th precinct, Rolling Stone confirmed.
It’s refreshing to reflect and see filmmakers working under Hollywood’s radar. And some break into the Hollywood system – as if that should be anyone’s goal. Have a scan athe the way an independent filmmaer has carved out a meaningful career.
several of these films have a strong Raindance and BIFA connection
Jim Jarmusch:
Jarmusch is known for his distinctively stylized and unconventional films. His works often explore themes of existentialism, alienation, and independent subcultures. Some of his notable films include “Stranger Than Paradise,” “Dead Man,” and “Only Lovers Left Alive.” His film Coffee and Cigarettes played Raindance in 2003.
Andrea Arnold:
Arnold is a British filmmaker whose films often focus on characters from marginalized backgrounds. She has directed films like “Fish Tank,” “American Honey,” and “Wuthering Heights.” Arnold’s works often capture raw emotions and offer an unflinching portrayal of human struggles. Fish Tank won numerous BIFA awards in 2009.
Sean Baker:
Baker gained recognition for his indie film “Tangerine,” which was entirely shot on an iPhone. He further cemented his reputation with “The Florida Project,” which depicted the lives of marginalized communities living near Disney World. Baker’s films often tackle social issues with empathy and compassion.
Hirokazu Kore-eda:
Kore-eda is a Japanese filmmaker known for his subtle and introspective storytelling. His works often explore family dynamics and the human condition. Some of his notable films include “Nobody Knows,” “Shoplifters,” and “Still Walking.”
Kelly Reichardt:
Reichardt is known for her character-driven independent films that often explore themes of identity, isolation, and the American landscape. Some of her notable works include “Wendy and Lucy,” “Meek’s Cutoff,” and “Certain Women.”
Andrew Bujalski:
Bujalski is considered a pioneer of the mumblecore genre, known for his naturalistic and low-budget approach. His films, such as “Funny Ha Ha,” “Mutual Appreciation,” and “Computer Chess,” often focus on relationships and the complexities of human interactions.
Joe Swanberg:
Swanberg is another influential figure in the mumblecore movement. He has directed and acted in numerous independent films, including “Drinking Buddies,” “Happy Christmas,” and the anthology series “Easy.” His works often explore the dynamics of modern relationships.
Lynn Shelton:
Shelton was a filmmaker known for her improvisational and character-driven films. Her notable works include “Humpday,” “Your Sister’s Sister,” and “Laggies.” Shelton’s films often captured raw emotions and offered intimate portrayals of everyday life. Humpday was the opening night gala film at Raindance in 2009.
Bong Joon-ho:
https://youtu.be/5xH0HfJHsaY
Bong Joon-ho is a South Korean filmmaker known for his thought-provoking and genre-bending films. His works include “Memories of Murder,” “The Host,” and the critically acclaimed “Parasite,” which won multiple awards, including Best Picture at the Oscars.
Greta Gerwig:
Gerwig started her career in the independent film scene, acting in and co-writing films like “Frances Ha” and “Mistress America.” She then made her directorial debut with “Lady Bird,” which garnered widespread acclaim. Gerwig’s films often explore complex female characters and coming-of-age narratives. Now known for “Barbie”.
Ryan Coogler:
Coogler gained recognition for his indie film “Fruitvale Station” before directing the critically acclaimed “Creed” and the groundbreaking superhero film “Black Panther.” He has brought a fresh perspective to the industry with his socially conscious storytelling.
Jordan Peele:
Peele, known primarily as a comedian, made a successful transition to filmmaking with his debut feature “Get Out.” The film combined horror and social commentary and was both a critical and commercial success. It also stars Raindance alumni Daniel Kaluuya.
Peele continued his success with “Us” and has become a prominent voice in genre filmmaking.
Ava DuVernay:
DuVernay gained recognition for her independent film “Middle of Nowhere” and later directed the critically acclaimed movie “Selma.” She has since worked on projects like “13th” and “A Wrinkle in Time.”
Barry Jenkins:
Jenkins directed the Oscar and BIFA-winning film “Moonlight” and followed it up with “If Beale Street Could Talk.” He has been praised for his unique storytelling style and authentic portrayals of marginalized communities.
Taika Waititi:
Waititi, a New Zealand filmmaker, gained attention for his indie films like “Boy” and “Hunt for the Wilderpeople.” He then directed the blockbuster hit “Thor: Ragnarok” and won an Oscar for his screenplay of “Jojo Rabbit.”
Chloé Zhao:
Zhao made waves with her indie film “The Rider” and gained further acclaim for “Nomadland,” which won multiple awards, including Best Picture at the Oscars. She went on to direct Marvel’s “Eternals.”
