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If you’ve been enjoying our recent Disney Make-A-Wish stories, here’s another one to warm your heart. Recently, the Avengers assembled at Disney California Adventure for an epic surprise!

Make-A-Wish 

At the ripe age of 3 years old, Colton is already an Avengers fan. So, he was thrilled to learn that he might have the chance to meet his favorite Super Hero, Iron Man at the Disneyland Resort, earlier in the year.

Avengers DCA Make-A-Wish

Photo: Disney

He got all dressed up in his very own Iron Man costume, for his special visit to Disney California Adventure. His family asked if it would be possible for Colton to meet his hero at Avengers Campus.

Colton’s story touched the hearts of Cast Members on staff that day. The toddler was born without an immune system and was only able to take the magical trip because of a bone marrow transplant that saved his life.

Avengers Campus

Photo by Jeff Gritchen, Orange County Register/SCNG

Cast Members sprung into action, sprinkling some extra Disney magic into Colton’s day. They set up a time for the family to visit Avengers Campus.

Avengers Assemble

Colton was excited to meet Iron Man, but didn’t realize he’d be treated to some other, epic Super Hero encounters as well. Black Panther came out first, surrounded by the Dora Milaje!

Avengers DCA Make-A-Wish

Photo: Disney

Gamora and Doctor Strange entered next, much to Colton’s surprise. Even Ant-Man made an appearance!

Disneyland saved the best for last, with Colton’s favorite Avenger, Iron Man making an epic finale. Colton’s mom got teary-eyed as she stared at the matching duo, exclaiming, “It’s like looking into a mirror!” 

Avengers DCA Make-A-Wish

Photo: Disney

A PhotoPass photographer was on hand to capture the moment, as Colton became an honorary Super Hero. His mom shares, “He truly believes with his entire heart and soul that he is now one of them because of the special time and attention they gave him.”

She adds, “It was just a moment for them, but it was truly life-changing for him.” A Cast Member sums up the heartwarming experience perfectly, stating, “This is what we can do here at the Disneyland Resort. This is a moment that will stay with Colton and his family forever.” 

Image Credit: Ty Popko/Disneyland Resort

What an epic surprise for one deserving Make-A-Wish kid, as Avengers assemble for the worthiest of causes at Disney California Adventure!

 

 

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Ever since James Gunn was named co-CEO of DC Studios alongside Peter Safran, speculation about Marvel Studios stars the director worked with joining the competition has become something common. And Chukwudi Iwuji, who played the big villain in Guardians of the Galaxy Vol.3 is part of that list.


DC fans would like to see the actor playing Lex Luthor, Superman’s main enemy, after the great job he did bringing the High Evolutionary to life. However, it seems that Iwuji is very clear about what character he would like to play in the Warner Bros. Discovery franchise and it has nothing to do with the Man of Steel.

In an interview on the Phase Zero podcast, the Marvel star revealed that he would be delighted to play the demon Etrigan:

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“I was talking to a friend about it: I was like ‘This character… this is Jeykll and Hyde in the DC world. So Etrigan. If you told me to name one it would be Etrigan. Like I just love the idea of having two people existing in one. That’d be my DC one. Etrigan.”

Created by Jack Kirby in 1972 and originally from Gotham City, the demon is tied to the human Jason Blood, something similar to what happens with Venom and Eddie Brock, and that is why Iwuji refers to Dr. Jeykll and Mr. Hyde, a dynamic that is also present in another great Marvel character, The Hulk.

The character has appeared in various titles and has been related to many heroes such as Batman and Green Arrow, as well as having a role in Alan Moore’s Swamp Thing, so it would fit without any problem in the first phase of the new DCU, entitled Gods & Monsters.

In fact, the actor is already part of the franchise. He recently participated in Peacemaker, a spinoff tv show of James Gunn’s first project with DC, The Suicide Squad. But since it is not yet clear if these stories will continue to be part of the canon or remain part of the Elseworld like The Batman or Joker, he could easily play another role.

Related: Why the MCU and DCU Must Work Together to Fight Audience Fatigue


Could Jason Momoa Also Play a New Character in the New DCU?

Warner Bros. Pictures/DC Comics

Even though The Flash will work as a soft reboot of the previous DC universe and pave the way for a new canon, there are two projects coming out later this year that are still part of the old franchise, Blue Beetle and Aquaman and the Lost Kingdom. The introduction of Xolo Mariduena’s Jaime Reyes is the less problematic of the two, as it will be the character’s first appearance and could fit in with new stories in the future.

But the sequel to the adventures of Arthur Curry does not have the same luck. For now, no decision has been made regarding the future of Jason Momoa as the King of the Seven Seas, whose story was originally conceived as a trilogy. But it will depend on the performance of the second part to give the green light to the third one.

Should Momoa no longer continue playing the character, Gunn and Safran have expressed interest in continuing to work with the current Fast & Furious star, and could give him a new role within their universe. The actor has shown interest in becoming the anti-hero Lobo, a character much loved by DC fans and who has appeared in a wide variety of stories, mainly related to Superman. Whether it’s in the skin of Aquaman or Lobo, it looks like Momoa will have his place in the franchise going forward.

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Ever since James Gunn was named co-CEO

One day after Montana Governor signed the first statewide ban into law, the measure is already facing a legal challenge. Five TikTok creators in an effort to block the ban from taking effect.

In court filings, lawyers representing the TikTok creators say the ban is unconstitutional and that it violates their First Amendment rights. They also take issue with Montana’s supposed national security justification for the ban. 

“Montana has no authority to enact laws advancing what it believes should be the United States’ foreign policy or its national security interests, nor may Montana ban an entire forum for communication based on its perceptions that some speech shared through that forum, though protected by the First Amendment, is dangerous,” the suit . “Montana can no more ban its residents from viewing or posting to TikTok than it could ban the Wall Street Journal because of who owns it or the ideas it publishes.”

In on Fox News, Montana’s Attorney General, Austin Knudsen, said that legal challenges to the ban were expected. “There are some important issues here that I do think we probably need the federal courts to step in and answer for us here,” he said. “And that was part of our calculus in bringing this.”

The lawsuit is among the first legal challenges to the law, and will likely be closely watched as federal officials consider a on the app. Right now, the Montana ban is set to take effect January 1, 2024, though lawsuits challenging it could delay that timeline. TikTok itself hasn’t commented on whether it’s planning to bring its own litigation in Montana, but said in a statement following the bill’s signing that it planned “to defend the rights of our users inside and outside of Montana.”

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One day after Montana Governor signed the



Credit: WGA West

The Writer’s Guild of America went on strike on May 2, 2023. The strike is more than just writers putting down their pens and picking up their picket signs, to fight for their rights. This strike also symbolizes “the beginning of a bigger conversation about morality and labor practices” throughout corporate America. 

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

  • Recent interactions with union members out on the picket lines

  • Phil Rosenthal’s history with the WGA

  • What screenwriting is now compared to what it used to be

  • How detrimental the mini-rooms are

  • Studios using loopholes to get out of paying rates they already agreed to

  • Hollywood CEOs making millions every year while others are getting laid off 

  • Feeling encouraged by the solidarity between all the unions in the industry

  • Not submitting to the Sundance labs in order to support WGA

  • How the WGA strike is impacting more than just the television and film industry

Subscribe to the No Film School Podcast on:

Send us an email with questions or feedback: podcast@nofilmschool.com!     

Listen to more episodes of the No Film School podcast right here:

This episode of The No Film School Podcast was produced by GG Hawkins.

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Photo via Medios y Media / Getty Images

Mexican actor Eugenio Derbez had an amusing encounter on an airplane. While en route to his destination, the actor was reportedly approached by numerous eager fans seeking selfies and photos with the actor. With The Who’s “Who Are You” playing in the background and citing her unfamiliarity with him, TikToker Paige Craig posted a video of Derbez with the caption, “Can someone tell me who this man is because people keep taking pics with him and I’m too scared to ask who he is”. Craig noted he was ‘very nice’, however.

The video quickly went viral, with many Latin Americans pointing out who Derbez is. Derbez is one of Mexico’s biggest comic actors. To clarify who he was to Craig, some chose to describe him as ‘the Mexican Adam Sandler’.

Derbez has had a long and very prominent career in Latin America, but has also crossed over into American cinema. Fans might recognize him from the Oscar-winning film, Coda, where he played Bernardo “Mr. V” Villalobos.

With many fans tagging Derbez’s personal TikTok in the comments, the actor decided to join in on the discussion with some levity. “Hi Paige! Let me introduce myself, my name is Eugenio Derbez and I’m basically an actor and director,” Derbez commented in his own video. “Now, can someone tell me who this girl is?! Because people keep following her, she has more than 1 million!”

Derbez appears to have gained a fan out of the experience, as Craig stated that she would “binge” his movies as a result.

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And Ariana Madix took one last opportunity to address Tom Sandoval directly. During the finale Sandoval attempted to gaslight viewers and VPR cast members into believing that Madix was partially to blame for his cheating, even going so far as saying she would have discovered his affair if she had simply…stalked him? 

“Ariana never asked,” Sandoval said during a conversation with his friend and business partner Tom Schwartz. “Maybe like, ‘I’m going to Schwartz’s….’ All she would’ve had to do is follow me and see that, you know, I’m not.”

While that’s an objectively wild thing to say, Madix believed it warranted a response. “I had the password to his iPad,” she told Andy Cohen before looking into the camera to speak to Sandoval. “So I did look at your location and you were at Schwartz’s,” she said, implying he was carrying on her affair at his friend’s home. 

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At another point in the interview, Madix said she believed Schwartz not only helped cover up Sandoval’s affair but “was actively participating in my downfall.” 

RIP to both Toms’ reputations. Ariana dressed to kill at the funeral. 


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And Ariana Madix took one last opportunity

The gun control debate took center stage in Law & Order’s Season 22 finale, which aired on Thursday night.

Tensions were high after a U.S. senator was shot and killed at his daughter’s wedding. After reviewing footage from the incident, Shaw and Cosgrove realized their suspect was a waiter whose face was obscured by a KN95 mask. (He might have been a murderer, but at least he was being COVID-conscious.)

The detectives eventually found their guy, Derek Quinn, who was distraught and ready to end his life over the rampant gun violence in the country. He was upset with the senator for changing his vote on a gun law. Shaw talked Derek down, and officers took him into custody.

During a press conference, Jack McCoy revealed that this case would be prosecuted in state court.

“Gun violence is a national plague. The only way to affect real change is to move past all the political acrimony and pass strong and effective common sense gun control legislation,” he told reporters. “The question for all of us is, ‘Had enough?’ We can’t become a place where people settle their political differences at the point of gun, or where talented and passionate men and women avoid public service out of fear for their lives.”

Sam Waterston and Elisabeth Waterston (NBC)

The case was an unusually complicated one for McCoy since his daughter Rebecca (played by Sam Waterston’s real-life daughter, Elisabeth Waterston) was representing the defendant. He put on a brave face when Price asked how they should proceed. “I love my daughter dearly,” McCoy said, “but this is just another case, and she is just another lawyer.”

At the arraignment, Derek pleaded not guilty by reason of mental disease or defect, saying that he suffered from PTSD after surviving one of the deadliest school shootings in America. (Derek disarmed that shooter and saved lives, but hadn’t been the same since.)

Price, McCoy and Maroun debated the ethics of the case, with McCoy pointing out that regardless of Derek’s previous heroics, he shouldn’t get a free pass for killing a senator out of revenge. Price agreed, legally, but pointed out that morally, some might see it differently, which could lead to jury nullification. Given that the attack was premeditated, McCoy refused to budge on the first-degree murder charge.

During the trial, Price suffered a mild panic attack while holding the gun used to kill the senator, and requested a recess. He tried to brush it off, but Maroun reminded him that he went through a similar experience and he was suffering from PTSD. (Note: Price survived a subway shooting earlier in the season.)

Price was moved by a psychiatrist’s testimony on PTSD and urged McCoy to offer a plea deal, but the best they could offer was first-degree manslaughter, which came with a 15-year sentence. Rebecca rejected the deal, and Derek was subsequently found guilty of first-degree murder.

Nobody was happy about the verdict, including McCoy, who looked solemn in the back of the courtroom. Rebecca, angry with her father for his lack of empathy during the case, turned down his offer to dinner.

Price was right when he said that McCoy was trying too hard to not look like he was favoring his daughter. It may have just cost him a relationship with her.

What did you think of the Law & Order finale? Grade the episode below and then share your thoughts in the comments. 

 

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The gun control debate took center stage

Editor’s Note: This interview took place prior to the beginning of the Writers Guild of America strike on May 2.

Welcome to It’s a Hit! In this series, IndieWire speaks to creators and showrunners behind a few of our favorite television programs about the moment they realized their show was breaking big.  

As he geared up for the premiere of “Fire Island” on Hulu, writer and star Joel Kim Booster was braced for a deluge of #discourse.

He was familiar with the critical audience feedback for well-intentioned queer media of yesteryear (like “Looking,” a show that Booster enjoyed at the but which has been sharply analyzed since it ended in 2015), and fully prepared for “Fire Island” to engender the same polarizing response.

“Listen, I think I got away with murder a little bit in terms of the discourse around this movie,” Booster told IndieWire. “Gay men are especially critical of a media that depicts us because we are so starved for it. There’s not a lot of shows or movies that are about us, and so when we do get one, we sort of examine it very closely and try and find all the ways that it does and does not represent us and represent our specific experience.”

While “Fire Island” did not wholly escape outlandish critiques (one note prompted Alison Bechdel to chime in and adjust her eponymous testing metric), the “Pride and Prejudice” adaptation centering gay Asian men received rave reviews. IndieWire’s Jude Dry called it “A guaranteed instant classic” that’s “gorgeously intersectional, subtly political, and a damn good time.” On May 13, the film won a GLAAD Media Award for Outstanding Film (tied with “Anything’s Possible”), with Booster accepting the award for his screenwriting feature debut.

“AI does not have the trauma, the joy, or the lived experience to create any of these stories that we are honoring tonight,” Booster said in his speech, underscoring his support for the Writers Guild of America strike. “AI certainly could not have written the line ‘If you take an edible with half of an Adderall it’s a bit like molly.’ You gotta live that life.”

This interview has been edited for length and clarity.

IndieWire: When you were developing and pitching Fire Island originally, what were some of the edits or feedback you got? People in Hollywood love to have opinions about why something doesn’t work, and a lot of the time they’re wrong — especially when it comes to a minority story.

Joel Kim Booster: There [were a] lot of notes throughout the project, honestly, that asked me to explain a little bit more some of the jokes and some of the references throughout the movie. Specifically, I think I made a tactical error and including voiceover narration, because that gave the studio a lot of opportunity to tell me “Well just explain it in the narration” or “Explain this reference or this joke,” and I was really adamant about making sure that it didn’t feel like a movie that felt like it was for straight people.

I think people are really sensitive to that when they watch movies about other people’s experiences. I know I feel that way when I watch shows like — “Insecure,” for example… I didn’t understand every reference in every joke, but I felt the authenticity through that and it was a more enjoyable watching experience because of it. I really wanted to replicate that kind of experience in my movie.

Were there particular things that you remember maybe fighting for or a note you pushed back on?

A lot of the drugs stuff was very much noted heavily. They definitely wanted to pull back on some of it and I lost some of those battles, and they also wanted more descriptions of what everything was and how it worked. The George W. Bush line [which Booster as Noah says out loud after thinking “Mission accomplished” in his voiceover] is a joke I’m convinced that only about 15 percent of the audience enjoyed or liked, and is one of my favorites because it is the experience for me of being on ketamine. The studio definitely didn’t quite understand it nearly as much and I’m not even sure it tested super well when we watched it with test audiences, but for me, that was an experience that I had that I wanted to mimic in the movie. I’ll be frank: there’s more narration in the movie than I originally planned on there being because of the need to compromise on the amount of explaining that needed to happen.

I guess as a comedian you’ve dealt with this sometimes: Do you want everybody in the room laughing a little bit, or one person who just like snorts through their nose?

Yeah, that’s my big thing. I’m much more interested in writing something specific — hyper specific, and the little left of center — that maybe hits fewer people than something super broad. There’s definitely broad comedy in the movie, there’s pratfalls, there’s all sorts of goofy shit that happens — but for me, it’s those little moments that sort of pass people by, that happen quite quickly that you have to be really keyed into the movie to really catch and grab and take hold of. Those are the moments that are way more rewarding to me as a writer and as a creator.

A group of men in summer vacation garb and one woman in a light floral coverup sit at a table, looking concerned; still from
Bowen Yang, Tomás Matos, Joel Kim Booster, Matt Rogers, Torian Miller, and Margaret Cho in “Fire Island”Jeong Park/Searchlight/Hulu

I read that this was originally developed as a series for Quibi.

When I wrote it as a series, quote, unquote, for Quibi, it was always written as a movie that just happened to be split up into 10 parts. When Quibi folded and Searchlight bought the script, I didn’t actually make that many changes to it from its Quibi version to the Searchlight version. I basically just took out the chapter breaks and smoothed out the structure a little bit, but by and large, the movie stayed pretty much the same from Quibi to Searchlight.

I would have thought it would go the other way. So even in the Quibi stages, were you maybe wishing it were just a feature?

Here’s the thing: Quibi was not my first choice of a home for this, but it was also the only place that was interested in a movie like this at the time. I was grateful that this company was interested in developing it with me, and the big draw with Quibi was [that] after two years, all the rights refer back to you — so I could get it back and recut it as a movie and sell it elsewhere. That was always sort of the goal.

Was there a moment during production when you or maybe your director (Andrew Ahn), were kind of looking around and we’re like, “Damn, we have something special?“

This was such a special [experience] for me because I got to do it with so many of my close friends and people who eventually became very close friends. We were a very tight knit group and so there were lots of moments, especially when we got to the island to actually shoot. We only shot on Fire Island for about the last two weeks of production, and those moments — I mean, like, dancing on the dock at the end of the movie, when we were able to shoot those scenes — it wasn’t acting. We were just really able to celebrate while we were doing [it] and… we were able to bring that energy to that scene. The first moment we were rehearsing the “Sometimes” karaoke scene, and Matt (Rogers) and Tomás (Matos) did not tell us that they had come up with choreography to do as as they were singing back up for Bowen (Yang), and so that was a complete surprise to us. I remember seeing it for the first time and just being like, “This is absurd and ridiculous and so funny — and if it works, then it will be one of the most iconic scenes in the movie.” And if it doesn’t, then the entire movie doesn’t work, because that’s the sort of vibe of the entire movie is this kind of level of ridiculousness mixed with earnestness. If we can pull this off then the movie will be success, otherwise we’re fucked.

In April 2022, you tweeted that the discourse around “Fire Island” would kill you. Can you tell me more about that?

I really wanted to make a movie that was about my experience without trying to represent everyone’s experience in the community. For me, the discourse was frustrating when it was discourse around “Well, this doesn’t represent me because XYZ,” when that was never really the goal.

I tweeted that preemptively as sort of a joke. That did not happen to me or my movie, and the jury’s still out — maybe it will. Maybe in five years time people will revisit it and who knows how it will age. But I was really, really happy with the response from the gay community writ-large of my movie, and I was appreciative of it. In terms of knowing when it was a hit, a huge moment for me was going to Fire Island after the premiere. I was nervous; I was nervous to be in that environment with a bunch of gay men who loved Fire Island as much as I do — the place — and figuring out what their reaction to this movie would be. Going there — it was a little bit like being Mickey Mouse and at Disneyland for a week and having people feel comfortable enough to come up to me and tell me that they loved the movie, especially gay men who are notoriously not super effusive when it comes to other gay men’s work, I think. It really did feel like “Oh, wow, like we did it. We made something really great that people enjoy.”

To paraphrase a famous musical: How do you measure a hit?

That’s really tough. I’m not privy to the streaming numbers. Hulu does not share that information with me. I know that people watched it, I know that they’re very happy with the performance of it, so by those metrics I guess you could call it a hit. But for me, the hit aspect of it is still not something that I’ve completely come to terms. It’s really hard for me to even say — I would never say it to someone else, like “Oh, my movie was a hit.” I guess it’s moments like these are really the validation that comes with that. That’s a really tough question, and it’s not one that I feel qualified to answer.

“Fire Island” is now streaming on Hulu.

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Editor’s Note: This interview took place prior

Writer/director Romello Blade’s Gray People sets up a world where a bill passes for the immigration of gray-colored people to become United States citizens. This proves to be controversial for the rest of the population. A slacker, Nick (Isaish Jimenez), has one week to move out of his mother’s house, having not paid rent in six months. His stoner friend and fellow slacker, Kyle (Casey Starchak), lives with his father. The difference between the two is Kyle lives a more privileged life thanks to his well-to-do father, Yusuf (Essex O’Brien). One of the running gags in the film is Kyle, the son of a black man, referring to himself as a person of color despite being Caucasian. The two friends have a dream of opening a medical marijuana dispensary, but all the banks in town have turned them away.

Kyle and Nick’s luck changes, however, when they come across a letter addressed to Nick’s neighbor. They find out the Goldstein Foundation is hosting a small business program for gray-colored citizens. The letter shows said neighbor has been granted acceptance into the program. They, of course, get the bright idea to paint themselves in “grayface” to join the program. Unfortunately, they don’t realize that the head of the Goldstein Foundation, Madoff (Dennis Mallen), is laundering money. At the program, the two friends meet a series of characters, including Zeka (Michelle Nuñez), another gray-colored person with a secret.

“They, of course, get the bright idea to paint themselves in ‘grayface’…”

Gray People is a picture that suffers from a lack of identity. It wants to be a stoner comedy, a social commentary on race, and a thriller involving big business corruption. Yet, it doesn’t want to settle any of them. The result makes for a confusing jumble. It is unfortunate because, at its core, there is a neat idea. The problem is that Blade lets everything go on far too long and in too many directions. The story introduces too many characters in comedic set pieces that don’t add to the narrative. For example, Nick and Kyle visit a local gray-colored stoner who gets them high. This ten-minute sequence doesn’t offer many laughs nor relate to the overall narrative. It comes off as an unnecessary detour.

In addition, the film has a two-hour running time, which makes these moments drag out the story. Nevertheless, some moments do induce a few chuckles. More problematic, however, is the commentary. It’s well-intentioned and makes its point clear, but perhaps too clear. Everything comes off heavy-handed in its approach to the gray-colored folks and in the portrayal of the side characters. Everyone comes off as stereotypes and caricatures. The core concept of the two characters changing their skin color to accomplish a goal reminded me of the controversial 1986 film Soul Man. That film dealt with a Caucasian teen posing as black to attend Harvard.

Gray People is Romello Blade’s second feature film. Despite some issues, it’s clear that he’s a filmmaker with talent and vision. It is well-produced, has some committed performances, and has its heart in the right place. It’s a film that will likely entertain but could have been a biting satire had it been edited tighter and focused on its core narrative.

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Writer/director Romello Blade’s Gray People sets up a world

Canadian border officials say they recently intercepted a shipment of 140 kg (more than 300 pounds) of methamphetamine being smuggled out of the country at a B.C. port.

In a media release, the Canada Border Services Agency said the officers made the bust on March 30 at the Tsawwassen Container Examination Facility.

CBSA officers were tipped off about the shipment with intelligence from police and customs officials in New Zealand.

It said officers inspected a container believed to be destined for the Commonwealth country with the help of a drug detecting dog, and found a “white, crystal-like substance” hidden in a piece of machinery.

Tests later confirmed the substance was methamphetamine.

The CBSA has since referred the case to the RCMP.

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Jon Gosselin, 46, says his 22-year-old twins Mady and Cara with ex ate Gosselin haven’t been responding to his texts, and the former reality TV star admitted they haven’t spoken in nearly 10 years. “The last time I spoke to Mady and Cara was 2014,” he told The U.S. Sun in an interview published May 18. “I periodically text Mady and Cara to see if I get a response and at this point, I’ve never heard from them.”

Jon Gosselin
Mediapunch/Shutterstock

He added that, “Sadly I am not attending Mady and Cara’s college graduations.” According to the outlet, he also claimed they have “ignored” his attempts to engage them via text message. Jon and Kate, who split in 2009, also famously share 19-year-old sextuplets Aaden, Collin, Joel, Hannah, Alexis and Leah.

When she was 15 years old, Mady stated in a blistering comment to PEOPLE, “He doesn’t even know us… And the last thing I have time for is a toxic relationship.” Cady added at the time, “I wouldn’t even know what to say about him.” The comments come after Jon’s insistence that he wants to “rebuild” his allegedly alienated relationship with his kids.

“I am relieved that court is over and I can focus on rebuilding my relationships with my children who now live in North Carolina and New York,” the personality told Us Weekly in an interview earlier this month. “It’s a very freeing feeling to not have to worry about lawsuits from Kate and really opens the door for me to reach out to my other children. I truly hope for the best.”

Mady and Cara Gosselin with Kate Gosselin
Mady and Cara with their mom, Kate. Broadimage/Shutterstock

He continued, lamenting to the outlet that his kids are “full grown adults and unfortunately we missed those opportunities when they were growing up,” he said. “With that said, there are many events coming up like the kids’ graduations, and hopefully seeing my ex and my other children isn’t awkward but instead a new beginning.”

Kate was given full physical custody of their famous brood after their ten-year marriage, which began in 1999, collapsed. Collin and Hannah stood by their father, but the other six children fell out of touch with him. The ongoing custody war included a hefty child support claim by Kate, which was dropped last summer.

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View gallery Image Credit: Mediapunch/Broadimage/Shutterstock Jon Gosselin, 46, says

In a pair of lawsuits targeting Twitter, Google and Facebook, the Supreme Court had its first chance to take on the 1996 law that helped give rise to social media. But instead of weighing in on Section 230, which shields online services from liability for what their users post, the court decided the platforms didn’t need special protections to avoid liability for hosting terrorist content.

That finding issued Thursday is a blow to the idea, gaining adherents in Congress and the White House, that today’s social media platforms ought to be held responsible when their software amplifies harmful content. The Supreme Court ruled that they should not, at least under U.S. terrorism law.

“Plaintiffs assert that defendants’ ‘recommendation’ algorithms go beyond passive aid and constitute active, substantial assistance” to the Islamic State of Iraq and Syria, Justice Clarence Thomas wrote in the court’s unanimous opinion. “We disagree.”

The two cases were Twitter v. Taamneh and Gonzalez v. Google. In both cases, the families of victims of ISIS terrorist attacks sued the tech giants for their role in distributing and profiting from ISIS content. The plaintiffs argued that the algorithms that recommend content on Twitter, Facebook and Google’s YouTube aided and abetted the group by actively promoting its content to users.

Many observers anticipated the case would allow the court to pass judgment on Section 230, the portion of the Communications Decency Act passed in 1996 to protect online service providers like CompuServe, Prodigy and AOL from being sued as publishers when they host or moderate information posted by their users. The goal was to shield the fledgling consumer internet from being sued to death before it could spread its wings. Underlying the law was a concern that holding online forums responsible for policing what people could say would have a chilling effect on the internet’s potential to become a bastion of free speech.

But in the end, the court didn’t even address Section 230. It decided it didn’t need to, once it concluded the social media companies hadn’t violated U.S. law by automatically recommending or monetizing terrorist groups’ tweets or videos.

As social media has become a primary source of news, information and opinion for billions of people around the world, lawmakers have increasingly worried that online platforms like Facebook, Twitter, YouTube and TikTok are spreading lies, hate and propaganda at a scale and speed that are corrosive to democracy. Today’s social media platforms have become more than just neutral conduits for speech, like telephone systems or the U.S. Postal Service, critics argue. With their viral trends, personalized feeds and convoluted rules for what people can and can’t say, they now actively shape online communication.

The court ruled, however, that those decisions are not enough to find the platforms had aided and abetted ISIS in violation of U.S. law.

“To be sure, it might be that bad actors like ISIS are able to use platforms like defendants’ for illegal — and sometimes terrible — ends,” Thomas wrote. “But the same could be said of cell phones, email, or the internet generally. Yet, we generally do not think that internet or cell service providers incur culpability merely for providing their services to the public writ large.”

Thomas in particular has expressed interest in revisiting Section 230, which he sees as giving tech companies too much leeway to suppress or take down speech they deem to violate their rules. But his apparent dislike of online content moderation is also consistent with today’s opinion, which will reassure social media companies that they won’t necessarily face legal consequences for being too permissive on harmful speech, at least when it comes to terrorist propaganda.

The rulings leave open the possibility that social media companies could be found liable for their recommendations in other cases, and perhaps under different laws. In a brief concurrence, Justice Ketanji Brown Jackson took care to point out that the rulings are narrow. “Other cases presenting different allegations and different records may lead to different conclusions,” she wrote.

But there was no dissent to Thomas’s view that an algorithm’s recommendation wasn’t enough to hold a social media company liable for a terrorist attack.

Daphne Keller, director of platform regulation at the Stanford Cyber Policy Center, advised against drawing sweeping conclusions from them. “Gonzalez and Taamneh were *extremely weak* cases for the plaintiffs,” she wrote in a tweet. “They do not demonstrate that platform immunities are limitless. They demonstrate that these cases fell within some pretty obvious, common sense limits.”

Yet the wording of Thomas’s opinion is cause for concern to those who would like to see platforms held liable in other sorts of cases, such as the Pennsylvania mother suing TikTok after her 10-year-old died attempting a viral “blackout challenge.” His comparison of social media platforms to cellphones and email suggests an inclination to view them as passive hosts of information even when they recommend it to users.

“If there were people pushing on that door, this pretty firmly kept it closed,” said Evelyn Douek, an assistant professor at Stanford Law School.

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Content reduction is underway at Disney, as dozens of series have will soon be removed from Disney+ and Hulu, TheWrap has confirmed.

Several titles, including Disney+’s “Willow” and “Big Shot” and Hulu’s “Dollface” and  “Y: The Last Man,” will no longer be available to stream globally beginning May 26.

Impacted titles that will soon depart Disney+ include, according to Deadline, “The Mysterious Benedict Society,” “Big Shot,” Turner & Hooch,” “Willow,” “The Making Of Willow,” “Just Beyond,” “The World According To Jeff Goldblum,” “The One And Only Ivan,” “Timmy Failure,” “Be Our Chef,” “Magic Camp,” “Howard,” “Earth To Ned,” “Foodtastic,” “Stuntman,” “Disney Fairy Tale Weddings,” “Wolfgang” and “It’s a Dog’s Life With Bill Farmer.”

Likewise, Disney will remove Hulu titles “Pistol,” Dollface,” “The Quest,” “The Hot Zone,” “Y: The Last Man,” “Maggie,” “Little Demon,” “The Premise,” “Love In The Time Of Corona,” “Everything’s Trash,” “Best In Snow” and “Best In Dough.”

The news comes just a week after the entertainment giant announced during its quarterly earnings call its plans to remove “certain content” from its streaming platforms in a cost-cutting move.

“We are in the process of reviewing the content on our DTC services to align with the strategic changes in our approach to content curation,” Disney Chief Financial Officer Christine McCarthy said during the call.

McCarthy also unveiled Disney’s plans to “produce lower volumes of content,” marking a strategic shift from the company’s original goal to flood “the so-called digital shelves” when Disney+ launched three and a half years ago. While Bob Iger explained this plan’s intent to push along subscriber growth, the Disney boss noted during the earnings call that the company “realized that we made a lot of content that is not necessarily driving sub growth.”

The former strategic plan also left marketing spending to be “spread so thin,” according to the Disney head, who noted that the company would be more “surgical” in content decisions rather than “spending a lot of money marketing things that are not going to have an impact on the bottom line.” Instead, Iger noted that freeing up these budgetary constraints would enable Disney to focus on tentpole projects that are “great” subscription drivers, including “Avatar,” “The Little Mermaid,” “Guardians of the Galaxy Vol. 3,” “Indiana Jones” and “Elemental.”

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Content reduction is underway at Disney, as

He’s back! Ryan Seacrest returned to Live as a guest — but he doesn’t quite miss hosting the broadcast.

“I got out just in the nick of time,” the American Idol host, 48, joked during the Thursday, May 18, broadcast, while promoting the upcoming live finale of the singing competition. “I have to say, I’ve been watching, you guys are so great together. I love it. I love Mark [Consuelos] doing the teases, I love the promos I see, I love the games.”

Seacrest hosted Live With Kelly and Ryan for six years opposite Kelly Ripa. The Georgia native announced in February that he was ready to step down from his Live chair, as Ripa’s husband, Consuelos, took his place. Thursday’s appearance marked his first time on the show since his April 14 departure.

Ripa, 52, noted on Thursday that she thinks Seacrest is just relieved that he doesn’t have to do all the promo shoots and episodic games that are featured on the broadcast and in its commercials. Consuelos, also 52, took it upon himself to recap Seacrest on what’s been happening in the studio.


Mark Consuelos, Kelly Ripa and Ryan Seacrest
CAROLINE BREHMAN/EPA-EFE/Shutterstock

“You’ve missed ballroom dancing, menopause myths, couples therapy — all those great segments,” the Riverdale alum quipped. 

Seacrest went on to reveal that he’s been able to experience a “fascinating thing called time” since leaving the morning show. “So what I do is the alarm chimes in the morning, it’s like a soft nudge,” he said of his new daily routine, joking it starts at 11:00 a.m. and involves foraging for his own breakfast in the woods. “I walk through the forest and I look for the beans of coffee. I take them back, I roast them. I milk my almonds and I make a latte. Now, it’s noon.”

While Seacrest — who’s been dating model Aubrey Paige for two years — has been enjoying not waking up so early to film the talk show, Consuelos has embraced his new life as a TV host.

“This show today truly felt like home,” the Kingdom alum exclusively told Us Weekly in April after his first show. “I always feel at home with Kelly but [working] together this morning just felt so right. Kelly and I have always [felt] the most [at] ease when we’re together and I feel so lucky we get to do that daily.”

The Live Wire author — who married Consuelos in 1996 before welcoming three children together — was equally excited about her spouse joining her at the anchor’s desk.

“I had no concerns about how well he was going to do and he really proved me right,” Ripa told Us last month. “I’m so proud of him, but I was never worried. … The thing I love about Mark is how funny he is. The advice I gave him was to just keep being yourself, enjoy every moment and be present. He took it from there.”

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He’s back! Ryan Seacrest returned to Live as a guest

CANNES, FRANCE “Don’t kill the messenger!” pleaded the genial Didier Allouch, press conference moderator at the Cannes Film Festival.

“We’re going to start the press conference without Johnny Depp. Johnny will be late, but there will be Johnny.”

A collective groan issued from the film journalists in the room. Most of them had come to talk to Johnny Depp and nobody else but Johnny Depp about his new period romance “Jeanne du Barry,” despite the presence onstage of the film’s director and co-star, Maïwenn, and other cast members.

By this point on Wednesday afternoon, the press conference was nearly a half-hour late. A smiling and waving Depp finally showed up about 12 minutes later, making him 42 minutes late in all.

No apologies were made and none were required. Depp is a star and stars can do what they like — although, ironically, his most quotable remarks had him renouncing Hollywood stardom in light of the career setbacks he endured there while successfully suing his ex-wife, Amber Heard, for defamation.

He lost some big studio gigs during the ordeal, including a role in the “Fantastic Beasts” blockbuster. Depp’s “Pirates of the Caribbean” franchise also reportedly risked cancellation at one point.

“Do I feel boycotted now? No, not at all,” Depp said, measuring each word and looking businesslike in a three-piece charcoal suit and white shirt.

“I don’t feel boycotted, because I don’t think about Hollywood. I don’t feel much further need for Hollywood — I don’t know about you.”

The truth is, Depp couldn’t step out of the spotlight if he tried. At the age of 60, which he’ll turn on June 9, he’s a bigger star than ever.

He received a standing ovation from his Cannes audience this week — a gesture that brought him to tears — as he opened the 76th edition of the festival. He stars in a film in which he plays the 18th-century French King Louis XV, beating many French actors for the role even though he’s a self-described “hillbilly from Kentucky.”

Despite being close to retirement age, and looking every bit his age, Depp has no apparent desire to quit acting and no need to do so. He still draws a crowd, a benefit enjoyed by other big stars expected in Cannes before the fest ends on May 27. At least six of the major celebrity draws at Cannes 2023 are people of pensionable age or close to it.

Besides Depp there’s Harrison Ford, 80, starring in “Indiana Jones and the Dial of Destiny”; Robert De Niro, 79, starring in “Killers of the Flower Moon”; Tom Hanks, 66, one of Wes Anderson’s ensemble stars for the comedy “Asteroid City”; Julianne Moore, 62, starring in “May December” and Sean Penn, 62, starring in “Black Flies.”

The oldest stars are shining the brightest at Cannes. One of the biggest stars of all, French acting legend Catherine Deneuve, age 79, graces the official poster for this year’s festival.

Far from turning people off as they get older there’s a new survey, much discussed in the industry, that suggests older stars are preferred by audiences, who want to see people they know and love on the big screen. It’s not that there isn’t any fresh young talent out there — see the sidebar of some Cannes contenders — but youth simply isn’t what motivates people to go to the movies.

The National Research Group survey asked moviegoers to name the stars they’d be most likely to pay to see at theatres.

Of the top 20 names, the average age is 58 and just one actor is under the age of 40. That’s “Thor” star Chris Hemsworth, ranking 20th, who will turn 40 in August.

No. 1 on the list is Tom Cruise, 60, the big draw at Cannes last year for the launch of his long-awaited flying ace sequel, “Top Gun: Maverick.”

No. 2 is genre star Dwayne Johnson, 51. No. 3 is two-time Oscar winner Hanks, who will turn 67 in July.

There are just two women on the Top 20 list: Julia Roberts, 55, ranking No. 6, and Angelina Jolie, 47, ranking No. 18. There are also just two Canadian actors: Keanu Reeves, 58, ranking No. 11, and Ryan Reynolds, 46, ranking No. 13.

It’s clear that familiarity counts for more than trips around the sun for stars. This makes sense when you consider what it costs for tickets, popcorn, parking and babysitters for a movie night out.

People want to be guaranteed a good time when they shell out for a film, a fact that bodes well for all the films with senior stars premiering at Cannes 2023.

Some young talent to watch at Cannes ’23

Moviegoers may prefer to watch older actors, but they were all young at one time or another. And youth doesn’t have to be an obstacle: the right role and the right film can transform an actor from unknown to household name in a heartbeat.

In alphabetical order, here are five young actors at Cannes ’23, all under 40, who show stardom potential:

Lily-Rose Depp, 23

The daughter of Johnny Depp stars opposite Toronto pop star/actor Abel “The Weeknd” Tesfaye in “The Idol,” an upcoming HBO TV series billed as “the sleaziest love story in all of Hollywood.” She plays a pop diva who comes under the dangerous sexual and career control of a Svengali type played by Tesfaye. If the show gets a great reception at its premiere here next week it could signal the launch of the next big TV must-see.

Lily Gladstone, 36

Indigenous actor Gladstone, who was born in Montana and raised on the Blackfeet Indian Reservation there, has received critical kudos for her work in Kelly Reichardt’s “Certain Women” and in 2019’s “First Cow.” She’s about to go to the next level in a major role as a member of the Osage Nation in Martin Scorsese’s “Killers of the Flower Moon,” based on the true story of whites murdering Native Americans for their oil-rich land. Gladstone plays Leonardo DiCaprio’s wife in the film.

Charles Melton, 32

The model turned actor is best known for playing the hunky Reggie Mantle in TV’s “Riverdale,” but Melton has a chance to really show his acting chops in Todd Haynes’ “May December,” which is in the Palme d’Or competition. He plays the considerably younger husband of Julianne Moore in a drama about a couple that braved tabloid scorn about their mismatched ages 20 years ago, only to face trouble anew when an actor played by Natalie Portman enters their lives.

Talia Ryder, 20

She made her feature film debut in 2020 as the resourceful friend to Sidney Flanigan’s abortion-seeking teen in Eliza Hittman’s “Never Rarely Sometimes Always,” a drama that rocked that year’s Sundance and Berlin film festivals. She’s now turning heads at Cannes for her deadpan portrayal of a woman running from her life — as well as pursuing skinheads, neo-Nazis and religious zealots — in the road movie “The Sweet East.” Sean Price Williams’ directorial debut is a little unsteady, but Ryder exudes pure star energy throughout it.

Tye Sheridan, 26

Sheridan is a Cannes veteran despite his age. His film debut was playing one of the sons of Brad Pitt and Jessica Chastain in Terrence Malick’s “The Tree of Life,” the 2011 Palme d’Or winner. In 2012, he starred opposite Matthew McConaughey and Sam Shepard in Jeff Nichols’ Palme contender “Mud.” He’s back in the Palme race with a much meatier role, in Jean-Stéphane Sauvaire gut-wrenching drama “Black Flies,” in which he plays a New York paramedic fighting exhaustion and disillusionment as he copes with trying to help the dregs of humanity. He comes across as a young Sean Penn, who just happens to be starring opposite him in the film. Greatness awaits Tye Sheridan.

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CANNES, FRANCE “Don’t kill the messenger!” pleaded

Today during Disney+’s 2023 Upfronts presentation in New York City, Kevin Feige, producer and president of Marvel Studios and Chief Creative Officer provided a new look at three upcoming series on Disney+, starting with Secret Invasion (arriving on June 21) along with announcing new release dates Loki and Echo. 

Loki Season 2 – October 6

The second season of Marvel Studios’ Loki with arrive on Disney+ on October 6, 2023. Picking up immediately where Season 1 left off, during 2022’s D23 Expo star Tom Hiddleston teased that viewers will find Loki in a familiar, but strange, place. “Loki is back at the TVA, he’s had a very difficult confrontation with Sylvie, and Mobius and Hunter B-15 don’t know who he is.” Only time will tell what happens next. 

Echo – November 29

Marvel Studios’ Echo will arrive on November 29, 2023 on Disney+, with all episodes dropping onto the streaming platform that day. The new series tells the origin story of Maya Lopez, whose ruthless behavior in New York City catches up with her in her hometown. She must face her past, reconnect with her Native American roots and embrace the meaning of family and community if she ever hopes to move forward. 

Sign up for Disney+ and start streaming now! Stay tuned to Marvel.com for more details! And be sure to follow Marvel on Facebook, Twitter, Instagram, and TikTok! 

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Today during Disney+’s 2023 Upfronts presentation in

Actor John Cena offered fans a hopeful update regarding Peacemaker Season 2.

With the upcoming DCU reboot, the future of Peacemaker quickly became a point of worry for fans. While the series had already been picked up for a second season, it wasn’t anywhere on the first slate of projects announced back in January. 

Sadly, it’s going to be quite some time before Peacemaker‘s second season arrives in the DCU. James Gunn himself previously confirmed that fans shouldn’t expect it until “after [Superman: Legacy].”

Will Peacemaker Season 2 Happen at DC Studios?

DC

While speaking to Josh Horowitz on the Happy Sad Confused podcast, Peacemaker star John Cena commented on the future of his series in the DCU.

When asked if fans were still going to be getting a season two, Cena noted that he “hope[s] so,” and he “love[s] James Gunn as a human being and Peter Safran as well:”

“I hope so, what I will say is I’m very excited about the new leadership at DC because I love James Gunn as a human being and Peter Safran as well. I have the utmost respect for them as professionals, I’ve never seen people so prepared and who take it so serious and have so much passion for it and aren’t afraid to be themselves.”

The star added that “whether the future of DC involves Peacemaker or not,” he’s “excited” for whatever is to come:

“What you will see from DC in the future is the heart of James Gunn, he is not going to leave anything on the table he will not make a vanilla movie that says movie on the end of it and then serve it to you. He will take chances, he will be brash, he’ll do things his way, but you will get authentically his creative mind which I think is brilliant. So whether the future of DC involves ‘Peacemaker’ or not, as a fan and as a friend of James, I’m excited for the future of DC.”

When Will ‘Peacemaker’ Continue?

Sadly, while Peacemaker isn’t forgotten, it’s obvious from Cena’s words that DC Studios doesn’t know a clear window for when Season 2 will become a reality.

Given that the hit HBO Max show is James Gunn’s baby, fans should expect a continuation to materialize at some point.

Peacemaker might be a long way out, but its spiritual sequel, Waller, is expected to drop before 2025’s Superman: Legacy. However, it’s not known if John Cena’s character will appear at all in Waller.

At the very least, Viola Davis will return as the titular anti-hero alongside Steve Agee’s John Economos. With those two being a part of the story, it wouldn’t be surprising if even more Peacemaker characters, such as Jennifer Holland’s Emilia Harcourt, are set to join them.

Peacemaker is now streaming on HBO Max.

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The latest episode of VGC’s new weekly show, VGC: A Video Game Podcast, is now available on all major audio platforms.

This week VGC’s Jordan Middler and Chris Scullion are joined by TheGamer’s Rhia Bevan to discuss the week’s biggest video game news, including the upcoming PlayStation Showcase, Tears of the Kingdom’s huge success and more.

In the second half we chat about Lego 2K Drive, more Zelda: Tears of the Kingdom chat, and the most important gaming topic of the week, ranking Taylor Swift albums.

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If you’d like to get in touch with the podcast, you can do so via podcast@videogameschronicle.com.

VGC: A Video Games Podcast episodes are available weekly, hosted by VGC’s Jordan Middler, Chris Scullion and Andy Robinson, and broadcaster Pete Donaldson, featuring regular special guests from across the games industry.

The weekly show is produced by Stak, the company behind some of the UK’s biggest podcasts, including Football Ramble, JaackMaate’s Happy Hour and Abroad in Japan.

You can subscribe to VGC: A Video Games Podcast now on iTunes, Spotify, Amazon Music and more.