The bill, had it been approved by Duda, would have prevented any non-European company from owning more than a 49% stake in TV or radio companies in the country. Known as Lex TVN, the bill was designed to prevent non-European ownership of Polish media companies. It was first proposed in July by Poland’s ruling conservative Law and Justice party (PiS), which said that TV and radio license holders shouldn’t be directly or indirectly controlled by entities that aren’t in the European Economic Area.
Duda also noted that passing the bill into law would have cost the country several billion dollars and that he agreed with many of his compatriots who have the view that such a bill is not necessary at this point in time.
Discovery are the U.S. Valued at around $2 billion, TVN represents America’s largest investment in Poland. owners of Poland’s TVN Group, which operates the country’s most prominent news channel, TVN24.
On Monday, President Andrzej Duda vetoed a controversial media bill that was passed in the Polish parliament earlier this month that would have forced the U.S. Discovery Inc will not have to sell its Polish business after all. giant to sell its business in the country.
However, he said that passing such a bill would be harmful for a business currently operating legally in the country. Duda agreed in principle that countries should limit foreign ownership in media companies, providing the examples of the U.S., France and Germany, which have legislation in place for this purpose. Duda said that that the bill was unpopular in Poland and would adversely affect the country's reputation as a place to do business.
"This is a victory for the Polish people," Discovery said in a statement. "We commend the President for doing the right thing and standing up for core democratic values of a free press and the rule of law, and we want to thank all the viewers and everyone that has supported this important issue."” />

“As we've grown up and as we've developed, especially when we're talking about weddings and marriages and surrogacy, we're not only bringing back an audience that once watched it, but inheriting a new one that is interested in those things,” he says. Having spent almost a decade of his life on “Made in Chelsea” (he briefly left the show in 2013 before returning two years later), how long does Locke think the show will continue? “Maybe they’re not interested in some parts of it because [some of the cast] are 19 and you don't care about a 19 year old's breakup, but you're watching it because you want to see the bit that the 35 year olds are doing.”
— has acquired soap status among audiences young and old, who still tune in to watch cast-members (many of whom are now 30-somethings) as they grapple with not only make-ups and break-ups but also weddings, childbirth and even death. Ten years and 22 seasons later, the show — which airs on Channel 4's digital channel E4 in the U.K. and on streamer hayu in the U.S.
Behind the camera, the creative team also continue to tweak the series in subtle ways. “There's loads of things on a psychological level that you wouldn't even be aware of,” says Nazleen Karim, who joined as an executive producer three years ago with a mandate to shake the show up and make it “feel more real.” She cites, for example, the color grade, which has been changed from “milky” to more vibrant to reflect the trend for brighter colors on Instagram.
“So you just don't want to meddle with the magic formula too much.” The key, she says, is to keep any changes “incremental.” “There's a reason that ‘Chelsea’ has been going on 10 years,” says Karim.
“On the opposite side, there's a lot of people that aren’t trolls and 99% aren't.” “A lot of people talk about trolling and stuff like that,” he says. If anything, Locke says, he appreciates being able to share his story with an audience, not only to shine a spotlight on diversity — “Gay weddings are still something that you don't see on camera very much,” he says — but also because of the positive feedback he receives.
In 2019, for example, when two central cast-members — Jamie Laing and Sophie Habboo — had an explosive fight “for the first time ever, the cameras — and they’re really heavy cameras — came off their tripods to follow the action,” says Karim. Other techniques have included more handheld camerawork and, occasionally, breaking the fourth wall. “And actually, it was a moment that felt electric at the time.”
Inspired by U.S. teen dramas such as “Gossip Girl,” “Made in Chelsea” was originally conceived in 2011 as a reality TV series chronicling the lives of wealthy 20-somethings in one of London’s most upmarket districts.
(Monkey Kingdom is part of Universal International Studios, a division of Universal Studio Group.) “The show started off being about dating and friendship — that is its foundation — but it's about a whole lot more now basically,” says David Granger, an executive producer on “Made in Chelsea” and co-founder of Monkey Kingdom, which makes the show.
To keep the E4 show fresh, new (and younger) cast members are introduced almost every season and producers have finally, albeit slowly, responded to criticism regarding “Made in Chelsea’s” lack of diversity by introducing more cast members of color, including British model Paris Smith, who became the show’s first woman of color when she joined in August 2020.
“I've always felt it's very 'Kardashians' [meets] a Richard Curtis movie.” Locke came out as bisexual and, eventually, gay on the show. “It's like a family,” says Locke of his trust in both the producers and his fellow cast members (even if, as he admits, they don’t always get on). He has also shared with viewers his relationship and friendship woes as well as his pandemic wedding last year, and now his surrogacy journey. Ollie Locke, who joined “Made in Chelsea” in its first season, knows all about sharing his most intimate moments on camera.
“Putting your life on camera is never going to be easy. I went ‘Okay, I think it’s time to give up [the day job].’”) It's not an easy thing to do. However, we know when we go onto that show that this is what we're doing,” says Locke, who was working in the VIP section of a Chelsea nightclub frequented by Prince Harry when he first landed a spot on “Made in Chelsea.” (The moment he knew the series had become a cultural phenomenon, Locke says, was when he found himself looking after singer Ellie Goulding in the club one night “and I got asked for a photo and she didn't.
Equally, the most recent season saw the disintegration of the long-term relationship between cast members Reza Amiri-Garroussi and Ruby Adler, during which Amiri-Garroussi pointed out Adler was breaking up with him on camera. “That was a very real, visceral moment,” says Karim. We're witnessing the demise of an eight-year relationship.'” “Suddenly in that moment, everyone at home was jolted into thinking ‘Oh yeah, this isn't Netflix.
“I think as long as the stories are engaging,” she says, “no matter what age you are, you just will resonate with someone who's opened their hearts and lives to camera.”” /> For the producers, catering to an audience that spans the demographic gulf of their cast is more of a challenge, but Karim is sanguine about it.
With renewed concern in the U.K. around the impact of reality TV and social media following a spate of suicides linked to shows including “Love Island,” “The Only Way is Essex” and “The Jeremy Kyle Show,” “Made in Chelsea” so far boasts an impeccable record in terms of the welfare of its current and former stars. There have been no tragedies or even public falls from grace, despite its cast sharing some of their most personal moments on the screen.

"It's been a tale of superheroes, franchise and family films," says Paul Dergarabedian, a senior media analyst with Comscore, of 2021 at the box office.
But ultimately, not one, but two new variants of COVID-19 managed to spread across the globe and contribute to general uneasiness about going to the movies. Still, there were a few scattered success stories that didn't involve comic-books, like Daniel Craig's James Bond sequel "No Time to Die" ($160 million domestically), Universal's "F9: The Fast Saga" ($173 million domestically), "A Quiet Place Part II" ($160 million domestically) and the Ryan Reynolds sci-fi action comedy "Free Guy" ($121 million domestically).
"If content is king, then 2022 should be a terrific — if not yet 'normal' year — at the box office," says Dergarabedian.” />
Despite the best efforts of Spider-Man, Black Widow and other mighty Avengers, movie theaters have yet to rebound in another topsy-turvy, pandemic-battered year.
Should estimates hold, it would represent a huge 91% increase from 2020. Of course, that's not a high bar to strive for since ticket sales in that period sank to a 40-year low. Domestic earnings in 2020 were barely able to reach $2.2 billion while cinemas spent many months shuttered and studios released hardly any high-profile movies.
The final number could fluctuate in the next few days; the stretch between Christmas to New Year's is usually the busiest time at multiplexes, but the rapidly spreading omicron variant of COVID-19 may have other plans. According to early estimates from Comscore, overall domestic box office revenues in 2021 are projected to hit $4.4 billion through the final days of December.
But results were mixed. Superheroes reigned supreme — the biggest movies of the year include "Spider-Man: No Way Home" ($467 million domestically), "Shang-Chi and the Legend of the Ten Rings" ($224 million domestically), "Venom: Let There Be Carnage" ($212 million domestically), "Black Widow" ($183 million domestically) — while films targeting adult audiences, such as "West Side Story" ($23 million domestically) and "The Last Duel" ($10 million domestically), struggled to sell tickets. Hollywood began to unveil buzzy movies in earnest, and people began to trickle back to their local multiplex. This year, things were supposed to be different. And to some degree, they were.
Next to 2019, the last normal period at the domestic box office, revenues from Jan. In 2019, "Avengers: Endgame," "The Lion King" and "Toy Story 4" helped propel overall grosses to a mighty $11.39 billion. 31, 2021 will be down approximately 61%. 1 through Dec. By comparison, the 2020 domestic box office tally was down 80% from 2019.
Box office analysts didn't expect a return to normalcy in 2021, especially since vaccines weren't widely distributed until a few months into the year. Pending any release date reshuffles, promising future attractions of the blockbuster variety include the Warner Bros. comic book adaptation "The Batman" starring Robert Pattinson, Disney and Marvel's superhero sequel "Black Panther 2," Universal's dino adventure "Jurassic World: Dominion" and Sony's animated "Spider-Man: Across the Spider-Verse: Part 1." However, studio executives and industry experts hope 2022 will be the time in which audiences tire of watching movies at home and will be eager to return to the big screen.

The result of taking away that structure was a “triple ending.” McKay spoke with Variety about how he ended “Don’t Look Up.”
In “Don’t Look Up,” he wanted to use the device to further lighten the mood after the movie’s devastating ending. “I kept telling [Scott] Stuber and Kira [Goldberg] at Netflix, 'Don't worry, there's a lot of ways I can cut this ending,'” McKay said, especially if “we have a revolt on our hands.” He remembers assuring Netflix executives that the movie wouldn’t sink under its weight.
“And he said, ‘You know, I feel like I should say something,’” McKay said. They were filming the dinner scene in a house in Massachusetts “in the freezing cold.” Between takes, DiCaprio came up to McKay and script supervisor, Cate Hardman. “And he said the line — he didn't even read it in character. That line was DiCaprio’s idea, McKay said. And immediately Cate, who's this tough Texan, and I both immediately teared up, and my voice cracked a little bit.
With Britell’s piano score behind him, Randall says, “The thing of it is we really” — he pauses — “we really did have everything, didn’t we? I mean, if you think about it.”
“And he was like, ‘Yeah, I don't know if there's enough there.’” McKay didn’t disagree. But then, McKay said, “Don’t Look Up” co-producer (and Pulitzer Prize-winning journalist) Ron Suskind, asked him “Where’s faith in this movie? “I was talking to Chalamet about maybe doing this little part, because we've wanted to work together,” he said.
And then after we shot it, I said, 'That's really funny. “Mark, Meryl, and I kind of cleaned it up a little bit,” McKay continued. We should end with her getting eaten by a brontaroc!’” “I think every time we said the name of the creature, it changed — and the take we used was a brontaroc.
While they were filming in Boston, they came up with an idea for the end credits scene. “What if Jason Orlean, who you could argue is maybe it's the most despicable character in the movie — what if he's the last guy on Earth?”
Getting the ending right was, McKay said, a process of “constantly tweaking, tweaking, tweaking.”
One way to thwart that autoplay technology, though, is an end-credits scene, which McKay has done on movies such as “Anchorman” and “Talladega Nights: The Ballad of Ricky Bobby.” Filmmakers and television creators who work with Netflix tend to complain about the credits being cut off from their work, because it takes away the individual glory of the people who worked on those projects.
So you can probably guess how the movie ends — the Earth is destroyed. Of course, his plan doesn’t work — and whoops! Isherwell convinces President Orlean to wait until the comet is close to Earth so his company, BASH, can send drones to blow it up into harmless pieces that can be mined. Goodbye, world.
Which is when Yule takes over, delivering a blessing, and asking for God to soothe them. Randall calls for a prayerful moment, despite their not being religious.
They started riffing, and it was decided that Hill would “die in three days from eating tainted human flesh.” McKay realized that Streep’s character would escape Earth, and posited, “What if you're eaten by a creature?”
“Jason?” she says. “Oh, shit.” “I’m good,” he tells her, adding that she should have fun with Jason. After Isherwell and Orlean ditch the mission control room to escape the planet, and Orlean forgets that her son and chief of staff, Jason (Jonah Hill) exists, leaving him to die, she offers Randall a spot on the ship, which is decked out with cryo-chambers, and will search for a habitable planet.
The brontaroc bites her in the face, and then ravages her. As the crowd watches in horror, Isherwell says, “I believe that’s called a brontaroc.” Other brontarocs begin to  close in on them — "Whatever you do, don't pet them!" Isherwell shouts — as the Britell and Bon Iver collaboration “Second Nature,” which played over the credits, surges again.
Jason Orlean, Last Man on Earth
“The cryo chambers were 58% successful,” Isherwell announces triumphantly. “Which is much better then anticipated!” Orlean says, “We only had 47 dead in our section.” Isherwell is pleased: “I think this is going to work out quite well. And so in a mid-credits scene, we see the ultra-rich people’s escape space ships land on their new planet 22,740 years later — and they emerge naked. Quite well indeed!”
Teddy comes for dinner as well, and “Don’t Look Up” cuts between the intimate Mindy dinner and the disastrous comet mission at BASH that will doom Earth. But knowing that Isherwell’s attempt to break up the comet will likely fail, Randall shows up on his Michigan doorstep to have a “family dinner” — with Kate and her new boyfriend, Yule (Timothée Chalamet) — and asks to be forgiven. When Randall Mindy becomes an international celebrity, and the primary media messenger about the comet, he gets a glow-up and loses his way — he ends up ditching his wife (Melanie Lynskey) and their kids.
Like, I want to tear up, but I don't want to, you know — sob uncontrollably!” Are we going too far? “How much of the world you show?” McKay said. “What do you do with that music? We want to feel sad, but we don't want to be traumatized. How far do you go?
We're creating a whole new creature.” Once again, McKay turned to VFX superviser Gieringer, saying: “We're adding a new beat.
Death by Brontaroc
After making sure they'd gotten the shot, especially since they were shooting on real film, McKay kept his promise to Hill. He said not only does the scene make him laugh, but it’s a reference to “Time Enough at Last,” the famous “Twilight Zone” episode from 1959. The episode stars Burgess Meredith as a bookworm who's the lone survivor after a nuclear bomb goes off. “I'm a huge 'Twilight Zone' geek,” McKay said. He finds solace in a library — but then his glasses break.
“Man oh man, did we try,” Teddy echoes. “I’m grateful we tried,” Kate says.
“Look at that beautiful animal,” she gasps. “I wonder, are those feathers, or are they scales?” A colorful creature emerges, and Orlean marvels at it.
“I mean, I wanted to challenge the audience,” McKay said with a laugh, “but I don't want them to jump over their seats and attack me.”
To bring about those goals, McKay wanted to take away the “guaranteed happy ending” that filmgoers have grown used to, and “break that traditional three-act Hollywood thing that we know so well.” “Don’t Look Up,” in other words, has a lot to do.
Does President Orlean’s violent death presage that life on the new planet is doomed? McKay thinks about it for a second. “Does it mean everyone on every one of the ships gets eaten by brontarocs?” he asks himself.
And that was McKay’s plan before the COVID-19 pandemic swept across the globe, causing new and horrifying variations of anti-science denial. “The idea,” McKay said, “was always that it was going to involve absurdist comedy and some reality — can you blend those two things?” McKay, who wrote and directed the Netflix film, wanted to make a movie about the impending climate apocalypse — one that was “a big, broad comedy,” as he called it in a recent interview with Variety.
“I just think we're having to deal with these strange feelings being next to each other,” McKay continued. “So the trickiest part of the movie was the ramp down into that tone in the last 20 minutes.”
With her professor, Dr. President Janie Orlean (Meryl Streep) and billionaire tech mogul Peter Isherwell (Mark Rylance) — to do something about it. At the beginning of Adam McKay’s “Don’t Look Up,” Michigan State astronomy grad student Kate Dibiasky (Jennifer Lawrence) discovers a new comet. Randall Mindy (Leonardo DiCaprio), they realize it's heading toward Earth, and will cause an extinction-level-event for the entire planet in a little over six months. For the rest of the movie, Kate, Randall and Dr. Teddy Oglethorpe (Rob Morgan), of the, uh, Planetary Defense Coordination Office try to convince those in charge — U.S. The problem is likely solvable, if the world unites together to try to fix it.
Yet the line nearly didn’t make it into the movie. And then toward the end, we were like, 'You know what? We've gotta try that line.' We didn't even have it in the cut for a while. Working with editor Hank Corwin, McKay said: “We were so afraid of it in the edit room, because it just whacked us so hard.
“We're, like, 'All right! They were filming in a parking lot outside of their production office. Get in the hole.' And it was misery.” The day of the shoot was freezing. “It was ice cold; it was the coldest day of the entire shoot,” McKay said. In the scene, Jason emerges from the rubble and takes a selfie. “And poor Jonah,” McKay said.
"And then Jonah improvised the beat about 'Like and subscribe, I'm the last man on Earth!'” “I said, 'Jonah, I've never done this in my life. But if you get this on one take, I won't do another take.' And then I went behind the monitor, and I was like, 'I shouldn't have said that.' Because I always get a second or a third take," McKay said.
Affecting a choked-up voice, McKay said, “I just went, ‘Yup, I think you should try that!’”
I forgot about real faith. You're right!'” McKay said. “I think we're so used to thinking of religion as denominations, and now it's become a political cudgel in this country. And it was just a lightbulb moment where it's like, ‘I know who Timothée’s character is.’” With the addition of Chalamet’s Yule, McKay said, “the team was complete.” “And I was like, ‘Oh, you're right.
We don’t know what it means.” “I don’t think I want to know — yes, I do! I want to know,” she says. Isherwell answers immediately: “You’re going to be eaten by a brontaroc. Before the world ends, President Orlean asks Isherwell about BASH’s algorithm that can predict how people will die.
“And that might be my single favorite moment in the entire movie,” McKay added.
As the world starts to end for real, “Don’t Look Up” zooms out of the Mindy home, and visits some of the characters we’ve met throughout the story — such as the happy-talking news anchors, Brie (Cate Blanchett) and Jack (Tyler Perry), who are drowning their sorrows at a high-end bar. Back at dinner, the Mindys talk about store-bought apple pie and grinding coffee beans as the table starts to shake. We also see what ordinary people are doing as the comet hurtles toward Earth, and then makes its impact.
McKay, whose mother was a born-again Christian, said it was that scene that hooked Chalamet.
“They're going, 'I'll give $5 billion! $10 billion!' And we just pulled out on that.”
Why don't you guys talk about something? “We were shooting the scene with Rylance, Meryl and Jonah in the BASH control room for the second launch,” McKay said. “I'm like, 'We should play around. You never know. According to McKay, it was Streep’s idea that her narcissistic character would want to know how she was going to die. It could show up.' And Meryl, who's such a great improviser, says, 'I want to know how I'm gonna die!'”
“There could be something powerful about just not having that,” he said.
One Last Supper as the World Ends
“The whole movie's trying to just process basically the question of what the eff is going on in reality.” Along with “The Big Short” and “Vice,” his most recent films, “You can almost call them the what-the-eff-is-going-on trilogy.” McKay said that these days, with the world becoming more surreal by the day, he wanted to create a blend where “absurdist, ridiculous comedy lives right next to sadness,” he said.
“And it was just the gut punch of all gut punches.”
“A brontaroc,” Isherwell says. “A what?” Orlean asks. Orlean is flummoxed: “Oh.”
Because of the frigid weather, McKay did something unusual.
“I like little scenes at the end of the credits,” he continued. “I mean, it depends on the movie — you obviously wouldn't do it with, like, 'The Lost Daughter.' But with a movie like this — that's a blend of broad comedy with a disaster and horror — I thought it was kind of perfect."” />
To achieve that synthesis, “Don’t Look Up” attempts a tonal high-wire act; the movie is heading, after all, toward the end of the world, and the deaths of Kate, Randall and Teddy. Along the way, “Don’t Look Up” satirizes modern life, skewering media, politics and the culture of fame and celebrity.
“The original ending was, 'Oh, let's start building our houses.' And then someone says, 'Oh, the pod carrying all the workers blew up.' And then it was Mark Rylance going, 'I'll give anyone who builds me a house a billion dollars.' And then the guy next to him was like, 'I'll give $2 billion.' And then you realize they're all billionaires. They shot two different scenes as mid-credit endings.
McKay said the original ending of the dinner scene just cut to black, rather than seeing the Mindys’ house be engulfed. I think we've got to try that!” McKay said. “Raymond Gieringer, our VFX supervisor, showed me this test thing that someone had done for a VFX technique of a wall like rolling through a room, and I was like, 'Wow, that is powerful. “That's how we got the shot behind Rob Morgan's character of the wall coming apart, the window breaking behind Leo, the kitchen shattering behind Jen.”
SPOILER ALERT: Do not read if you have not yet seen "Don't Look Up."
“Actually, yeah. I think it does.”
Remembering things to be thankful for, one of Randall’s sons wistfully recalls sleeping in the backyard and waking up to a baby deer: “That was the best day of my life,” he says. At the dinner table, the Mindys and their chosen family are trying to make their last meal meaningful, as composer Nicholas Britell’s score kicks in.

“My soul brother left this earthly plane last Thursday,” said a devastated Duran. “He was my great friend, that's why all the memories of the nearly 15 years of working with him I reserve for myself, at least while I process the pain of his departure. Everyone has asked me what happened to him when he seemed so well, that they had seen him very active recently and that he was at such an important moment in his career."
Sold internationally by Wild Bunch, it became one of the biggest box office hits in Colombia. He wrote and directed his debut feature “The Squad” in 2011, which was produced by Rhayuela Films with Spain’s Alta Films and Sudestada Cine, Argentina.
Osorio is survived by his father and his two siblings.” />
Colombian director Jaime Osorio Márquez, who served as creator and director on HBO Max’s first Colombian series, “A Thousand Fangs” (“Mil Colmillos”), chose to die by assisted suicide on Thursday in Colombia, where euthanasia is legal. He was 46.
He won multiple awards for his filmmaking, including two Cannes Silver Lions and a Cannes Golden Lion. He began directing commercials for major brands upon his return to Colombia. Born in Cali, Colombia, Osorio studied at the University of Rennes in France.
“A Thousand Fangs” deals with a military operation that goes awry as the soldiers are overwhelmed by vicious supernatural forces. Osorio directed six episodes while Pablo Gonzalez directed two.
But increasing pain and his growing intolerance of pain medications compelled him to end his life before his health deteriorated further and he became a burden to his family, said his producing partner Federico Duran of Rhayuela Films, who served as showrunner on "A Thousand Fangs." He had beaten back an aggressive kidney cancer in 2009 and again in 2012, when it had returned and metastasized.
He survived it, defeated it and dominated it. He managed to write and stage a play, direct his second film, ‘The Sacrifice’ (‘7 Cabezas’) and the series ‘A Thousand Fangs,’ a titanic effort that turned out to be one of the most outstanding productions in Latin America; and then, before the disease took over his life again, he pushed ahead of it,” said Duran. In his moment of greatest glory, he made the decision and put the words ‘The End’ to his own life. Fly high, my brother." “Somehow, he plotted his own ending, as if he were the writer of his own script. “No, Jaime was not killed by the disease.
"We regret the death of Colombian director Jaime Osorio, known for great productions such as ‘The Squad,’ ‘The Sacrifice’ and the series ‘A Thousand Fangs.’ We send a message of condolences to his family and friends," the Colombian Ministry of Culture stated in a messaged posted on Twitter.
However, he defied the doctor’s prognosis that gave him only a few months to live and instead lived a rich and productive life for several more years. “The answer is overwhelming and he wanted the whole world to know: Jaime was not killed by cancer. Osorio's cancer returned in 2012, around the time he won best script for his psychological thriller at the Guadalajara Film Festival. That disease that struck him for the first time in 2009, just before we started production on his debut feature, ‘The Squad,’ (‘El Paramo’) and that despite all the treatments, ruthlessly re-announced itself in the form of a metastasis over the weekend when they gave him the award for best director at the Sitges festival,” he continued.

“I am in shock. Complete and utter shock," "Big Little Lies" actress Shailene Woodley wrote in an Instagram story. Maybe when we wake up tomorrow you’ll be there laughing saying it was just a satirical short film you made. It doesn’t make sense though, dude. It doesn’t make sense. "I guess somehow I know you will turn it into a grand adventure and one of the books, one I can’t wait to read and watch when my time comes. That it’s not real.”
My friend. I love you." "Big Little Lies" and "Wild" star Reese Witherspoon wrote, "My heart is broken.
Canadian director Tanya Lapointe shared a tribute from her husband, fellow Quebecois filmmaker Denis Villeneuve, on Instagram.
As you told me before: go out there and shine, crazy diamond!" wrote Villeneuve. "I love you my friend." "How must I forget these lonesome tears in my eyes?

See more tributes below:
The Quebecois director Jean-Marc Vallée is being remembered by the entertainment industry, with heartfelt tributes emerging from the late filmmaker's peers and collaborators.

"What you may not know is that he was sweet and kind, full of gratitude, remembered birthdays and sent awesome mixtapes, while still being a creative genius," Ward wrote. Vallée's publicist Bumble Ward conveyed her own shock over the news.
Vallée, who directed films such as "Dallas Buyers Club" and "Wild" and helmed TV projects including "Big Little Lies" and "Sharp Objects," died suddenly at his cabin outside Quebec City, Canada on Saturday. He was 58 years old.” />
Laura Dern, who also worked with Vallée on "Big Little Lies" and "Wild," mourned the director as "one of our great and purest artists and dreamers."

I can’t speak to why it didn't make it, but I do really love the record." said, "It is a great record. He’s a very talented artist. Asked about the omission in a recent interview with Billboard, Recording Academy CEO Harvey Mason Jr. Wizkid's "Essence" was nominated for a Grammy for best global music performance, but not record of the year.
"So in some ways, there are parallels to my own journey, but the music world is so different and twisted and crazy, as I’m learning myself." "It’s set in the indie music world and it’s a completely different world, a very different story of still friendship, but trying to make it an industry that doesn’t see it for you," Rae told the Times.
Asked if the music biz is "a place where good ideas flourish," Rae answered: "Absolutely not. It’s probably the worst industry I’ve ever come across," she told the Los Angeles Times' Mikael Wood in a Q&A about her personal and professional experiences with music.
Rae had plenty of good words for individual artists in the interview, singling out, naturally, the 2021 successes of Jazmine Sullivan, who recorded a title song for "Insecure" in Season 2 with Bryson Tiller, saying, "She's just literally pure talent."  Rae also cited Don Toliver and Cleo Sol as personal musical favorites from this year.
Kier (Lehman, the show's music supervisor) has put me on to so many new artists that I felt get the sound of the show. Looking back on the series, Rae said, "We highlighted female singers and rappers in a distinct way when others weren’t — I’m thinking about TT the Artist and Kari Faux in Season 1… As a music lover, nothing excites me more than feeling like you’re on to an artist first. And then, of course, I do my own digging for people that I love. That was one of the mandates — L.A. artists, independent artists.
She's started her own record label, Raedio, and is producing a new show about aspiring rappers, using her existing career to help launch music ones. Issa Rae, whose five-season run with HBO's "Insecure" came to a close with a finale this weekend, has dipped more than a toe into the music business. But rather than come off as thrilled about branching out into another industry, Rae is making it sound like she's entered a den of vipers.
"I do not want to be too specific, but even with making our own appointments [for soundtracks] with labels or artists, it would be so intricate. I want to renew things." And to find out how artists were treated on other labels … When I myself am a creator and know what I want in relation to a relationship with a production company or a producer, I would like to think that we are more artist-friendly than much of other brands and companies out there. Rae did not get into her dismay with the music business beyond generalities, but indicated her feelings were based on a combination of her own experiences setting up soundtracks and hearing from artists about what they deal with on a regular basis.
5. The soundtrack for the final season included a fresh track from TeaMarrr and a new Saweetie single, "Get It Girl," as well as contributions from Thundercat, They, Nnena, Josh Levi, B.K. Raedio's most recent release, "Insecure: Music From The HBO Original Series, Season 5,” came out Dec. Rae announced her partnership with Atlantic Records for the Raedio label in October 2019. Habermehl, Mereba and others.” /> Initial artists on the roster included TeaMarrr and Yung Baby Tate (who has subsequently shortened her name to Baby Tate and moved to the Warner Records lineup).
Archaic mentalities. "I thought Hollywood was crazy," Rae continued. It was something shocking" to discover, she said. … There are lots of conflicts of interest. Villains and criminals! It’s an addiction industry, and I really feel for artists who need to get into it. "The music industry, it has to start all over again.
In a separate interview with the newspaper, Rae talked about the HBO Max series she just completed filming, "Rap Sh*t."  The new series, in which she does not appear on-camera, has the two members of the hip-hop duo City Girls as executive producers.
When I think about the Grammys and these other systems that are designed to reward artistic creativity and uplift artists, I just feel like, 'Y’all don’t get it. To see Black people and our contributions to music not celebrated in the way they should be — I mean, these aren’t institutions for us." Rae also knocked the Grammys in the interview, and singled out one record in particular she thought had been unfairly snubbed. What are you rewarding?' This is dumb, but I’ll say it anyway: A song like [Wizkid’s] 'Essence'  — just absolutely a powerhouse, and yet could not be properly acknowledged by the institution that is supposed to celebrate the best in music — that trips me out. "What really bums me out — and this aligns with Hollywood — is the way that music is rewarded.

The latest in a long line of strongly nationalistic films released during the 100th anniversary of the Chinese Communist Party, “The Battle at Lake Changjin” has collected almost all its $905 million revenue (as of Dec. 27) from domestic ticket sales. It is currently the highest grossing film of 2021, with only “Spider-Man: No Way Out” and “No Time to Die” as serious rivals for the top spot.
For all the money spent and pyrotechnics unleashed, this collectively directed and filmed movie (no less than six cinematographers are credited) about the glory of collective effort and suffering in attaining military success never attains the grandeur it strives for. Without the gripping emotional center it requires to make sense of everything in relatable human terms it’s just another well-appointed but rather empty spectacle.” />
Flashes of Colonel Kilgore’s beach party barbecue in “Apocalypse Now” come to mind here. counterparts worry about being “back in time for chow” at mess halls bursting with roast turkey and all the trimmings. commander General Douglas MacArthur (lookalike actor James Filbird) telling troops things like “I guarantee you this will be over by Thanksgiving.” But all that weaponry and confidence will be no match for supremely dedicated and motivated Chinese troops, who can survive on raw potatoes in the freezing hills while their U.S. Moral superiority plays an important role in a story that begins with UN forces in a commanding position in September 1950 and swaggering army brass including legendary U.S.
military characters to be cardboard cutouts with excruciatingly bad dialogue. It is therefore no surprise to find Korean War history being filtered to suit domestic requirements in the three-hour Chinese blockbuster “The Battle at Lake Changjin.” Nor is it unexpected for U.S. And, like many other jingoistic war epics, this prestige production co-directed by industry heavyweights Chen Kaige, Tsui Hark and Dante Lam Errors and omissions are standard features of historical dramas everywhere.
This very old-fashioned production depicts a string of military engagements during the winter of 1950, when soldiers from China’s newly-named People’s Volunteer Army entered North Korea. The decisive two-week campaign — known in the West as the Battle of Chosin Reservoir — forced UN forces to retreat south of the 38th parallel and initiated a war of attrition that lasted until the armistice of 1953, which remains in place today.
There’s barely a North Korean soldier, official or flag to be seen as the PVA sweeps across the land on its mission to “resist U.S. forces in its field of vision. Though 22 nations contributed to the United Nations Command in Korea, the screenplay by Huang Jianxin (“Mao Zedong 1949”) and Lan Xiaolong only has U.S. aggression and aid Korea.” The stage here reflects current geopolitical realities by featuring only two recognizable combatants.
Among the best of these is a raid on a Chinese troop train by American aircraft and a heart-stopping sequence in which U.S. It’s fair to assume that Chen (“Farewell My Concubine,” “Legend of the Demon Cat”) directed the dramatic sequences while Tsui (“Detective Dee” series, “Flying Swords of Dragon Gate”) and Lam (“The Rescue,” “Operation Mekong”) handled action scenes that occupy about two-thirds of the running time. With a budget reported to be $200 million, it is surprising to see many sequences marred by wobbly CGI. pilots strafe a screed field, unaware that Chinese soldiers are playing dead below. Such visual shortcomings have become rare exceptions rather than common sights in Chinese blockbusters these days.
Wanli is supposed to be the lovable and naive young recruit audiences will connect with emotionally as he discovers the realities of war and death. But this cocky, reckless and annoying character lacks any charm. Even with much less screen time, battle-hardened veterans like artillery man Lei Suisheng (Hu Jun) and the 7th Company’s “political instructor” Mei Sheng (Zhu Yawen) register as much more substantial and likable.
There’s barely enough time for Qianli to pay respects to his parents and promise to build them a house before he’s ordered to ship out. The main human face of Mao’s call to arms is Wu Qianli (action superstar Wu Jing, of “The Wandering Earth” and “Wolf Warrior” fame), a decorated leader of the army’s 7th Company who’s just returned home after the Chinese Civil War with the ashes of his fallen soldier brother. Tagging along as a stowaway is Wu’s kid brother, Wanli (Jackson Yee, “Better Days”), whose reasons for wanting to join the army are never made clear enough for us to care.
Dialogue given to American characters is sometimes so awful as to be comical, but it’s a very different story when Chinese leaders speak. As he carefully considers participation in the Korean conflict, Chairman Mao Zedong (Tang Guoqiang, playing Mao for at least the sixth time) solemnly says “the foreigners look down on us” and “pride can only be achieved on the battlefield.” A stifling atmosphere of caution, care and respect is present whenever Mao and senior military figures such as Tan Ziwei (Duan Yihong) and Peng Dehuai (Zhou Xiaobin) appear. Many of these scenes contribute little to the narrative but clearly satisfy other requirements of this state-supported movie.

However, it doesn't seem like the awards team has to worry about whether the Australian-born actor will make the cut. Smit-McPhee has been prominent in past features like "The Road" (2009) and "Slow West" (2015) and is in the midst of a seemingly open race, which hasn't produced an agreed-upon frontrunner, despite names like Jamie Dornan and Ciarán Hinds ("Belfast") in the mix.
Kodi Smit-McPhee has maintained a stronghold this awards season for his work as Peter Gordon in Netflix's "The Power of the Dog." Pundits and awards enthusiasts have to wonder: has a frontrunner emerged?
Best Adapted Screenplay
Jack Nicholson, "Terms of Endearment" (1983) – Oscar winner
Best Original Screenplay
Best Director
Burt Reynolds, "Boogie Nights" (1997)
Best Actress
Best Original Song
Best Supporting Actress
Best Makeup and Hairstyling
Christoph Waltz, "Inglourious Basterds" (2009) – Oscar winner
2022 Academy Awards Predictions
Best Cinematography
J.K. Simmons, "Whiplash" (2013) – Oscar winner
It's in second place for wins for cinematography (Ari Wegner), supporting actress (Kirsten Dunst) and score (Jonny Greenwood). It also has the most wins in best picture (11), director (19), lead actor for Benedict Cumberbatch (13) and adapted screenplay (17). The movie is not just leading for supporting actor trophies. Produced, directed and written by Jane Campion, "The Power of the Dog" has been beloved by audiences and critics since debuting at the Venice Film Festival in late summer.
Mahershala Ali, "Moonlight" (2016) – Oscar winner
John Lithgow, "The World According to Garp" (1982)
Best Production Design
Best Original Score
Best Documentary Feature
He's also the youngest person to ever achieve the feat. The others are: Smit-McPhee is the 16th performer to win both supporting actor honors from both the New York Film Critics Circle and the Los Angeles Film Critics Association.
Best Supporting Actor
Best Film Editing
William Hurt, "A History of Violence" (2005)
Best International Feature
Best Actor
Best Picture
Morgan Freeman, "Street Smart" (1987)
Best Documentary Short 
Best Animated Short 
Best Sound
Bill Murray, "Rushmore" (1998)
Best Live-Action Short ” />
Willem Dafoe, "The Florida Project" (2017)
Martin Landau, "Ed Wood" (1994) – Oscar winner
Melvin Douglas, "Being There" (1979) – Oscar winner
Jared Leto, "Dallas Buyers Club" (2012) – Oscar winner
Gene Hackman, "Unforgiven" (1992) – Oscar winner
An interesting fact is when LAFCA has named two winners for supporting actor, which has happened three times — Bill Murray ("Rushmore") and Billy Bob Thornton ("A Simple Plan"), James Franco ("Spring Breakers") and Jared Leto ("Dallas Buyers Club") and this year with Smit-McPhee and Vincent Lindon ("Titane") — one of the winners ended up being snubbed by the Academy, failing to receive a nomination. Murray's turn in Wes Anderson's comedy is the only winner of both LAFCA and NYFCC to fail to garner an Academy nom.
John Gielgud, "Arthur" (1981) – Oscar winner
At 25, Smit-McPhee would be the second-youngest winner in the category's history, sitting behind Timothy Hutton. As BAFTA and SAG Awards voting is still underway, and with more than a month to go until Oscar nomination voting opens, we can look at which of the many terrific performances this year can win and if there's precedence for such a moment. The latter was 20 when he won for Robert Redford's best picture winner, "Ordinary People" (1980).
Best Costume Design
Best Visual Effects
Twenty-nine precursor awards have been announced thus far, with 14 naming Smit-McPhee's darkly psychological turn the best of the year. The next closest actor to his dominance is Troy Kotsur in "CODA" and Jeffrey Wright in "The French Dispatch," who have picked up three and two wins, respectively. In addition, Smit-McPhee's also landed Critics Choice and Golden Globe nominations, two critical stops on the awards circuit.
Best Animated Feature” />
Paul Dano's villainous Riddler also takes on a prominent role in the trailer. Warner Bros. is continuing to keep the antagonist somewhat hidden in marketing for "The Batman," focusing more on the dead bodies, question mark signatures and video clues he leaves in his murderous wake.
"I'm just here to unmask the truth about this cesspool we call a city," the Riddler says.
The new trailer focuses on the relationship between the two characters, featuring sequences of Batman and Catwoman fighting one another as well as more impassioned, coy exchanges.
Matt Reeves serves as director and co-writer, alongside Peter Craig. The film is set to hit theaters on March 4, 2022. Along with Pattinson, Kravitz and Dano, "The Batman" also stars Colin Farrell, Andy Serkis, John Turturro, Peter Sarsgaard, Jayme Lawson and Jeffrey Wright.
The new look also features footage of Batman navigating a flooded Gotham underground, explosions along the metropolis' coastline and an attack at what looks to be a political campaign rally. The trailer concludes with Batman and Catwoman fighting off a horde of armed men on a foggy industrial catwalk.
Watch the full trailer below:
Warner Bros. has released a new trailer for its upcoming DC adaptation "The Batman," starring Robert Pattinson as the vigilante hero and Zoë Kravitz as his uneasy ally Selina Kyle, a.k.a. Catwoman.
"You got a lot of cats," Batman tells Kyle, visiting the antihero's apartment. "I have a thing about strays," she responds, holding what seems to be a glass of milk.
"I've got nine of them." "Don't worry, honey," Kyle replies. "Selina, don't throw your life away," Batman warns.

For 2022, Kim says Coupang Play will continue to be experimental. “There are many projects being considered at the moment, though not all are original series.” The next that is, “Anna” is a thriller starring Bae Suzy (“Start Up,” “Vagabond”) and Jung Eun Chae (“The King: Eternal Monarch,” “The Guest”).
 ” />
The story and style of directing prioritize emotion over action. The cast is headed by A-listers Kim Soo Hyun and Cha Seung Won. “We put effort into capturing what was going on inside the characters’ heads, rather than using fancy tricks or spectacular angles,” he said.
New TV drama “One Ordinary Day,” a Korean adaptation of 2008 BBC series “Criminal Justice,” is just one way that newcomer Coupang Play is pushing its way into South Korea’s ultra-competitive video streaming scene.
Coupang Play says that is not currently on the cards. By the same token, Kim says that the international companies should be welcomed in Korea. Other Korean streamers Tving, Wave and Watcha have eyed or begun overseas expansion. We don’t see them as competition to fend off. The market still has room to grow.” “It’s great validation of the Korean market. “We’re focusing on the Korea market right now as we are still growing and there are huge opportunities here,” said Kim.
It is also the exclusive OTT platform broadcasting soccer from the European Champions’ League where four members of South Korea’s national team play. “Sports was a bet we took, and when we noticed our customers wanted to watch the Korean players we decided to expand.”
Stephen Kim, head of Coupang Play, says that the player’s content strategy is quality, over quantity. “Instead of gathering as much content as possible, we try to understand what our customers want to watch, learning and iterating through data how to give them best possible experience," he told Variety.
Coupang Play has also taken bets on other forms of content, notably including variety shows and sports. It was behind the revival of comedy sketch show “Saturday Night Live Korea” with a new season launching over Christmas.
The main character, regardless of his intentions and efforts, becomes helplessly lost in the tribunal system,” said Lee Myeongwoo, director of “One Ordinary Day.” “I wanted to critique the irrationalities in our society.
Coupang Play claims to be the fastest growing OTT player in Korea and the most downloaded streaming app since the launch of “One Ordinary Day.” Outside the country it is available on multi-territory Asian platform Viu and on Amazon Japan.
Infused with elements unique to Korean society and judicial system, “One Ordinary Day” is Coupang Play’s first original drama series and has received strong reviews since its late November launch.
The international powerhouses rub up against established local players including Wavve, Watcha, Tving and Seezn. The market is currently led by Netflix, with Disney Plus and Apple TV Plus as newcomers.
Coupang Play was launched in December 2020, by e-commerce unicorn Coupang, which has outshone its role model Amazon by offering 24-hour delivery for many goods. The OTT service is offered as a benefit valued at $2.40 (KRW2,900) per month to Coupang’s WOW-tier members, and as part of a bundle that also includes cashbacks, and delivery guarantees.
Lee is best known for his Seoul Broadcasting System (SBS) series “The Fiery Priest” and “Punch.” “One Ordinary Day” was his first production for a streamer. “I was given much more freedom of expression compared with the terrestrial channels and enjoyed using it to its fullest,” Lee said. “I was able to focus on telling the story in a speedy manner, filtering out the unnecessary.”

To date, the MGM film and awards season hopeful has generated $3.6 million domestically.” /> The movie, starring Cooper Hoffman and Alana Haim, collected $2.32 million on Saturday and Sunday, enough for seventh place. "A Journal for Jordan" sold less tickets than director Paul Thomas Anderson's coming-of-age comedic drama "Licorice Pizza," which expanded to 786 North American theaters on Christmas Day after four weeks in limited release.
However, it's not a bad result for a film targeted at parents with young kids at a time when family audiences have been especially wary about going to the movies. Universal and Illumination's animated musical "Sing 2" had the biggest start among new releases, debuting in second place with $23.7 million from 3,892 domestic theaters over the traditional weekend and $41 million since Wednesday. (That number is slightly inflated because it includes $1.6 million banked from advanced screenings over Thanksgiving weekend.) It's a softer start than its predecessor, 2016's "Sing," which had secured a three-day total of $35 million and five-day tally of $54.9 million.
The $190 million-budgeted tentpole has gotten mixed responses (it has a 67% on Rotten Tomatoes, as well as a "B-" CinemaScore), which may not move the needle for ticket sales while it's playing simultaneously on a streaming service at no extra charge. Lana Wachowski returned to direct "The Matrix Resurrections," which stars Keanu Reeves as the sleek cybercriminal Neo and Carrie-Anne Moss as Trinity.
With $1 billion banked, "Spider-Man: No Way Home" also took the earthly throne from another box-office behemoth, China's local-language war film "The Battle at Lake Changjin" ($902 million globally), officially cementing its place as the year's highest-grossing film worldwide. It's also notable that "No Way Home" surpassed that high-watermark without playing in China, which is currently the world's biggest moviegoing market.
Only 2018's "Avengers: Infinity War" and 2019's "Avengers: Endgame" were quicker, smashing the coveted tally in 11 and five days, respectively. Sony's comic-book epic has eclipsed that milestone in a near-record 12 days, tying with 2015's "Star Wars: The Force Awakens" as the third-fastest film to reach the billion-dollar benchmark.
and Village Roadshow's sci-fi sequel, landed with a thud in third place. entire 2021 slate, is available simultaneously on HBO Max, though the company didn't provide digital viewership metrics. The fourth installment in the seminal series, like Warner Bros. Other new nationwide releases struggled to pull ticket buyers away from "Spider-Man: No Way Home." "The Matrix Resurrections," Warner Bros. The cerebral film arrived significantly behind expectations, scraping together $12 million from 3,552 cinemas over the weekend and $22.5 million since Wednesday.
"Spider-Man: No Way Home" unwrapped the best Christmas gift of all, becoming the first pandemic-era movie to cross $1 billion at the global box office.
"You can watch 'The Matrix' later with someone who has HBO. "Right now, if you're under 35 and going to the movies, your first choice is 'Spider-Man,' and your second choice is seeing 'Spider-Man' again," says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. That's how it is when a single movie is dominating the market the way 'Spider-Man' is."
The original "Sing," centering on a bevy of animals with killer pipes, also bowed around Christmas and played in theaters well into the new year, ultimately grossing $270 million stateside and $634 million worldwide. At this rate, the sequel will have trouble replicating those results but it should remain the de facto choice for youngsters through the holiday season. Unless the pandemic has something to say, "Sing 2" should benefit from a long run on the big screen, especially since it doesn't have much competition among family films. The jukebox sequel, directed by Garth Jennings and voiced by Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Nick Kroll and Bono, has been well-received by audiences, who awarded it a coveted "A+" CinemaScore.
The newest "Spider-Man" adventure collected $81 million from 4,336 North American theaters over the weekend, down 69% from its jaw-dropping debut. To put its second-weekend figure in perspective, only select COVID-era releases have managed to generate that kind of coinage in their entire theatrical runs, much less in their sophomore outings. "Spider-Man: No Way Home" also managed to do so at a time when several new movies — "The Matrix Resurrections," "Sing 2" and "The King's Man," among others — opened nationwide to decent (and not-so-decent) ticket sales. At the domestic box office, "Spider-Man: No Way Home" had another dominant weekend, soaring high above the competition during a crowded Christmas corridor.
It's impressive that "Spider-Man: No Way Home" managed to blow past $1 billion in ticket sales worldwide given the rapidly spreading omicron variant of COVID-19. But, so far, coronavirus concerns have done little to slow Peter Parker's prowess; the film is still playing to many sold-out screenings nationwide. No other Hollywood film has come close to nearing those box office revenues in the last two years. Prior to Spidey's reign, MGM's James Bond sequel “No Time to Die,” which grossed $774 million globally, came the closest and stood as the highest-grossing Hollywood film of 2021 (and the pandemic). The achievement makes Tom Holland's Marvel superhero adventure the only movie since 2019's "Star Wars: The Rise of Skywalker" to surpass $1 billion globally.
"The industry has been saying family audiences haven't been coming out, but we proved that wrong," said Universal's president of domestic distribution Jim Orr.
The oft-delayed spy comedy, starring Ralph Fiennes, nabbed only $6.9 million from seven international markets for a global tally of $16.9 million. Another newcomer, Disney and 20th Century's "The King's Man" finished in fourth place, amassing a paltry $6.3 million from 3,180 screens over the weekend and $10 million since debuting on Wednesday. Overseas, the prequel in "The Kingsman" action franchise didn't make up much ground.
Internationally, the latest "Matrix" entry has generated $47 million so far, which brings its global haul to $69.8 million.
At the international box office, "Spider-Man: No Way Home" added $121.4 million over the weekend and has made $587 million to date, boosting its global revenues to $1.05 billion. It brings the film's ten-day total to a mammoth $467 million at the domestic box office. That tally is more than double the year's next highest-grossing movie, Disney and Marvel’s “Shang-Chi and the Legend of the Ten Rings,” which earned a mighty $224 million domestically.
Jordan, the film notched eighth place with a scant $2.2 million in receipts from 2,500 venues on Saturday and Sunday. Despite a high-wattage director and star in Denzel Washington and Michael B. Sony's latest new nationwide release, the tear-jerker "A Journal for Jordan," barely managed to crack the top 10. Even with the rousing success of Sony's "Spider-Man" threequel, it wasn't all good news on the movie studio's lot.
Unfortunately, the movie hasn't been high on audience's radars and could get sacked by competitors over the busy holiday stretch. The crowd-pleasing film about rags-to-riches quarterback Kurt Warner (played by Zachary Levi) has been embraced by moviegoers, who gave it an "A+" CinemaScore and 98% on Rotten Tomatoes. At the domestic box office, "The King's Man" beat Lionsgate's real-life sports drama "American Underdog" by a hair. In fifth place, "American Underdog" captured $6.2 million from 2,813 locations since opening on Christmas Day.
Strong reviews didn't do much to boost Disney’s big-budget “West Side Story” remake, which landed at No. Globally, the $100 million-budgeted "West Side Story" has earned just $36.6 million to date. The song-and-dance property has also had a slow go at it overseas, grossing only $12.7 million from 46 international territories so far. The Steven Spielberg-directed musical has generated $23.9 million domestically since launching earlier in December. 6 in its third weekend of release with $2.8 million from 2,810 venues.

Yet by the mid-2000s, the conspiracy mindset had begun to bend itself into some rather strange shapes. Sure, there had always been a wingnut dimension to it: "Paul is dead," alien abductions, the idea that the moon landing was faked with the aid of Stanley Kubrick. But most of that seemed like gonzo chatter. "The Matrix" lent an action-head-trip cachet to all of this.
In 2021, what a "Matrix" movie that’s actually relevant would confront is the way that liberating yourself from the Matrix became the new Matrix: an excuse for believing whatever you want to believe. It took the prospect of systematically removing yourself from reality and made it cool.” /> Only now the Matrix is something that we design for ourselves: a DIY illusion we create at home, choosing our own false prophets. The film spread a fantasy that even the most extreme politicians could only dream of.
It’s running on fumes of nostalgic paranoia. It’s that increasing numbers of people don’t take reality at face value anymore. I’ll leave it to critics to debate the pros and cons of "The Matrix Resurrections," but what’s clear about the third "Matrix" sequel is how yesterday’s news it all feels. If you really look at it, the legacy of "The Matrix" isn’t that we’ve all woken up to the truth. I’m not suggesting that "The Matrix," in 1999, caused this to happen. But it channeled the shift, in America and maybe the world, from reality-based thinking to a mindset where reality has become the enemy because it can no longer be trusted.
"Red-pilling" became a phrase in the culture, one driven by the shadow world of information on the Internet. Yet with two decades’ hindsight, the most telling dimension of the Matrix is that it exists, fundamentally, as a conspiracy: a virtual reality designed to hallucinate us into being good drones. Red-pilling meant unplugging from the Matrix of false images and fake media. The idea was: the deeper the web dive, the greater one’s embrace of the truth. And, of course, every person who took that dive would now be his or her own Neo, a rage-against-the-machine rebel in their own mind. The enduring legacy of "The Matrix" as a movie may be the perception that we’re living a lie — until we take the red pill and wake up, just like Neo.
Not that it was talked about in the mainstream media; it was mostly ignored. What Alex Jones was selling, and what QAnon was selling, was the same thing "The Matrix" was selling: the idea that your "reality" is a tangle of illusion and that only red-pilling yourself can liberate you from it. It was with the rising belief that 9/11 was an "inside job," planned and executed by the deep state, that the insane side of conspiracy theory began to take hold of mainstream culture. That’s why red-pilling became a popular notion among the followers of figures like Alex Jones. But the rise of the new right was all about seeing both the mainstream media and the government as a cosmic source of toxic deception.
The future would be digital, in every realm. It had already begun to change our movies, our day-to-day communication, our shopping (no small thing in late-capitalist America!), maybe our souls. Here’s a more interesting question: Was "The Matrix" part of the Matrix? Yet the movie presented that quest, notably in its bullet-time second half, with the kind of who-cares-what-it-means-when-it-looks-so-fucking-awesome visual effects that would be used by Hollywood, going forward, to color in the powers of comic-book superheroes. And "The Matrix," heralded by raindrop streams of phosphorescent green computer coding, tapped into all that without necessarily coming out the other side of it (which was part of the film's edge-of-the-moment charm). Most fans would say no; most critics would say yes. Here’s a question: Are MCU movies, in their way, part of the Matrix? It was a movie about unplugging from fake reality and plugging into real reality.
Everything could now be done at home, at the computer keyboard, including the manipulation of reality, which could now be anything you wanted it to be. With its row of nines poised to turn over, it sounded like the future embedded in the present. And 1999 is just such a cool number; it's like the other side of the coin from 2001. It was the year Prince had imagined as the run-up to the apocalypse, a premonition that would be echoed in the Y2K jitters. The year "The Matrix" came out — 1999 — already had a very sci-fi sound to it. We knew that we were moving into the 21st century, and we thought we had a good idea of what that was about. And that's kind of how 1999 felt. The Internet was only a few years old, but already we could see where it was pointing: to a digital world that would bring everything (literally) to your fingertips.
Some said that it was the Internet — which at the time I thought was an overly literal-minded reading, though it’s one that holds more water 20 years later. Simulation theory, something more and more people now believe in, says that we’re living inside a computer simulation — engineered, perhaps, by an advanced civilization. What did the Grand Metaphor Of It All actually refer to? Was it the welter of fake images we lived inside, the daily bombardment of advertisements and visual fiction that had become so omnipresent it was colonizing our imaginations? When "The Matrix" came out, there was a lot of chatter about what the Matrix was. That idea gets a workout in Rodney Ascher’s documentary "A Glitch in the Matrix," where Elon Musk is its strongest advocate, which made me think that I have to add one more wrong idea to the list of wrong ideas Elon Musk believes in.
And that, in a way, is all linked to the '60s belief system we’ve never let go of: the idea that the powers that be are lying to us. They lied to us about the JFK assassination, they lied about Vietnam and Watergate and Iran-Contra and WMDs, they lie about the chemicals in our food and a thousand other things. The "Alice in Wonderland" imagery is, of course, linked to the 1960s, something that director Lana Wachowski makes explicit in the best sequence of "The Matrix Resurrections," which features a trippy remix of "White Rabbit," the Jefferson Airplane song that told you to "feed your head," so you could glimpse the mystery on the other side of the illusion. Out of all that has emerged a mythology: that we’ll be ruled by their lies until we red-pill ourselves out of our trance.

Hawkeye isn’t as buff as Captain America, as obnoxiously sexy as Iron Man, as beautiful and mysterious as Natasha Romanoff, as boyishly charming as Spider-Man, as brawny and brainy as Hulk or a himbo god like Thor — he’s just a regular dude with Jeremy Renner’s rugged looks and above-average archer skills with zero superpowers. Many were skeptical at first of a standalone "Hawkeye" series at first, but the Disney Plus show proved critics and audiences wrong.
Her actions are slightly misguided. In the finale, Kate has come full circle and realizes her own blindness and Eleanor's sort of righteousness. We also wanted to make people understand that, ultimately, Eleanor is a mother that has raised Kate by herself and that her actions come from this place of protection and care for her daughter, and that's what we wanted to convey more. It's always a difficult job when you're trying to bury the lead and when you don't want audiences to get ahead of you because that will spoil things, but you also don't want it to be like a soap opera where the bad guy just kind of steps out from the shadows and there was nothing to suggest it. That's what Kate takes and runs with and obviously that leads her to suspect Jack Duquesne, which again is because she is clouded by her own prejudice towards him and because of his romantic involvement with her mother. Part of what we tried to do was, rather than seeking any clues necessarily, we really thought about defining her character in a way that it wasn't a total surprise — from the ways that she spoke to Kate, to the argument that she has with Armand Duquesne in the first episode, which Kate misunderstands because her presumption is that her mother couldn't possibly do anything wrong. And it comes from this more emotional place of, "I'm your mother, and this is what I have to do, and you need to understand that, even if I go about it incorrectly." So, it was obviously always sort of there.
You've got characters like Echo and Kate Bishop, who are going to be in future projects, and Yelena, who was introduced in "Black Widow," and on top of all of that, there's the multiverse to consider What are some of the challenges as a Marvel show director that come with keeping MCU continuity in mind?
As such, Thomas was presented with a challenge that seems to be unique to MCU directors — how to flesh out characters enough to make them interesting for the series by itself, while also not getting too carried away with canonical comic book storylines or jumpstarting original concepts to come in future projects. Starring Hailee Steinfeld as Kate Bishop, Hawkeye’s wide-eyed, early-20s protégé, and featuring memorable performances from Vera Farmiga as Eleanor Bishop, Alaqua Cox as Echo/Maya Lopez, Tony Dalton as Jack Duquesne, Florence Pugh as Yelena Belova and Vincent D’Onofrio as Kingpin — reprising his role from Netflix’s ‘Daredevil’ series — the “Hawkeye” cast was stacked with robust characters who will hopefully appear in many more MCU shows and films to come.
Variety chatted with the Welsh director on all things "Hawkeye," including making Christmas the backdrop to its crime-stopping capers and superhero-in-training antics.
We have two prominent characters with either total deafness or partial hearing impairment — why was it important to show how one of the Avengers ends up having an injury that leaves him with a chronic condition? How did you make sure that came across appropriately on screen?
Did you know from the start that you were going to bring Kingpin from Netflix's "Daredevil" into the show, and just a week later Daredevil himself popped up in "Spider-Man: No Way Home"?
What was the collaboration process like in the writers room for "Rogers the Musical," writing the songs and deciding how you were going to stage it?
The wonderful team at Marvel helps keep you honest on that front. I think Kevin Feige says it best that "The MCU is like the world just outside your window." As I was directing, I realized that you're supposed to treat it as slightly different parallel realities from the one you are in right now, and you have to go along with it and follow its rules. These events are only happening for them at this moment at Christmas time. I learned early on that the best thing I could do about that was not to worry too much about it and just try to keep doing what I could with Kate, Clint, Yelena and all of those characters to do them justice on their own show and to treat it as such. So, as a director, when you step onto a set and you've got Jeremy Renner dressed in a Hawkeye costume that you've been helping design, and you're introducing new characters like Echo and Kate Bishop and Jack Duquesne, and you also have to fit this in all around the holidays, it makes it all so surreal. Luckily, I could keep that in focus, and when the legacy stuff or the multiverse stuff needed to come in you always had someone at Marvel to help out or to at least keep an eye on it. It's been a weird feeling stepping into the MCU as someone that had been watching like every other fan. And I realized that, yes, we were filming at the Rockefeller Center, but it was the Rockefeller Center in the MCU.
Part of the thing that makes Clint Barton so singular and so charming and appealing is that he is a human. When he smashes through that window in the first Avengers movie, he ends up suffering a lot of pain. In some of the comics, he does have the impairment, and it is also a nice way of connecting Echo/Maya, who is deaf in the comic books, to him. We talked about this from early on that we needed to keep reality alive, and that means showing that humans do get hurt and beaten and broken. He does not have superpowers — he can't just bounce off of a car and get back up easily. It is their unifier. All of his crime fighting took its toll. It also gave Clint an in to communicate with her on a different level.
It was kept quite small for a little while, and it was kind of like a fun background project that was happening while I was shooting the rest of the show. We'd all been shooting that Rockefeller Center sequence and all of this kind of action stuff at nighttime, and then we arrived in the theater to do something fun at like 11 p.m. that same day.” /> I managed to recruit Marc Shaiman and Scott Whitman to help create the song and the lyrics, and it all started quite casually between the three of us and some very amusing text exchanges. So the musical was sort of slowly layered up and we shot it late in principal photography — it was a day of levity for the crew. The process of developing the musical sort of started right after we started principal photography. I mean, there was a piece in the script already where we knew we were going to be putting the musical in, but in terms of how it was going to be or what was going to happen or what the music was going to sound like, that all was finalized once we were in the production process.
The Kingpin of it all was not on the cusp when I started the show, but I feel like his presence was never far. They do a wonderful job at Marvel of keeping everybody quite siloed, and I think they do this for your own security. People seem to sort of assume that there is this room where everything is all mapped out, but, no, they keep you kind of focused on your own show and only give you the information that they feel they need to give. Like, we were always circling this other "big bad guy," but there was a moment when a Marvel executive came over and said, "You know, this is what we're gonna do about that." As far as a larger plan and a crossover with "Spider-Man: No Way Home," I did not know that they would do that.
What were some tells that you slipped in throughout the series that Eleanor Bishop would turn out to be a villain?
I feel like setting it as the backdrop of violence made it all seem a bit more real. Bringing the climax of the season to the Rockefeller Center and showing the famous Christmas tree felt like the perfect venue for a showdown outside of the Bishops' security firm Christmas party. And it all works because the events of the show are set in those last days before Christmas, so you knew that Clint had a deadline of getting home by then and the audience was always aware that he was heading towards this ultimate Christmas goal. The Rockefeller Center was the perfect way to bring everyone and everything together, balancing the merriness of Christmas and the imagery with the music and the strings of light and all of its positive associations with the fight sequences.
How did you make sure that you kept the Christmas cheer and levity in the series while pairing it with the violence that is intrinsic in the superhero genre?
Currently boasting a 92% critics score on Rotten Tomatoes and a 90% score with audiences, it is evident that Hawkeye won over less-enthused Avengers fans with his salt-of-the-earth humility, his own tortured, morally questionable grieving process, his unfailing determination to spend Christmas with his family and his new need for hearing aids. Rhys Thomas, who directed the first two episodes and the grand finale, says that’s the point of Clint Barton’s appeal: he’s a normal guy, with normal setbacks and desires, contending with a world slightly more abnormal than our own.

The series also stars Adjoa Andoh, Lorraine Ashbourne, Harriet Cains, Bessie Carter, Shelley Conn, Nicola Coughlan, Phoebe Dynevor, Ruth Gemmell, Florence Hunt, Martins Imhangbe, Claudia Jessie, Calam Lynch, Luke Newton, Golda Rosheuvel, Luke Thompson, Will Tilston, Polly Walker, Rupert Young and Julie Andrews as the voice of Lady Whistledown.
When Kate Sharma (Simone Ashley) and her younger sister Edwina (Charithra Chandran) arrive from India, Anthony starts to court the latter sister — and Kate soon discovers that his intentions for marriage are not pure. Keeping up with the tradition of Julia Quinn’s novels, Season 2 of “Bridgerton" tells the story of Lord Anthony Bridgerton’s (Jonathan Bailey) quest for love as he sets out to find a suitable wife.
Van Dusen also serves as creator.” /> “Bridgerton” is executive produced by Rhimes, Betsy Beers and Chris Van Dusen.
Netflix and Shondaland have announced the return of “Bridgerton,” with Season 2 set to premiere on March 25.
They’re an incredibly interesting and exciting pair. I like to watch them.” She added, “Our goal, if we do our job correctly, is you are going to be as invested and excited by that couple as you were by the couple of Season 1.” Rhimes offered a brief forecast about the central couple in an interview with Variety, saying: “I think there’s a powerful, interesting, romantic couple at the heart of it.
Shonda Rhimes, who is an executive producer of the series under her Shondaland banner, teased what would come in Season 2 after it was revealed that Simon Basset (Regé-Jean Page), the Duke of Hastings, would not be returning for the upcoming season.

Heading for a fourth-place finish, Disney and 20th Century's "The King’s Man" nabbed $1.2 million on Friday from 3,180 screens and hopes to generate at least $10 million through Sunday. That haul would be slightly below expectations the film would make $15 million to $20 million in its debut over the five-day frame.
Among other new nationwide releases, Lionsgate's sports drama "American Underdog"; Amazon's “The Tender Bar,” directed by George Clooney and starring Ben Affleck; and MGM's “Licorice Pizza,” the latest feature from director Paul Thomas Anderson, have yet to report Friday's box office grosses.” />
On Sunday, it will become the first pandemic-era movie (and first since 2019's "Star Wars: The Rise of Skywalker") to cross $1 billion at the global box office. It goes without saying that "Spider-Man: No Way Home" is barreling toward box office benchmarks at remarkable speeds. But equally as notable, "No Way Home" is going to surpass the billion-dollar mark without playing in China, which is currently the world's biggest moviegoing market. Reaching that milestone despite spiking COVID-19 cases would have been impressive enough.
Those are huge box office receipts at a time when several new films (such as "The Matrix Resurrections," "Sing 2" and "The King's Man," among others) are opening nationwide to notable ticket sales. Despite growing concerns over the omicron variant of COVID-19, the overall domestic box office will reach its highest levels for a single weekend since 2019 during the lucrative Christmas corridor. The grand finale in Sony's Tom Holland-led superhero trilogy added another $19.6 million from 4,336 domestic theaters on Friday, putting the film on pace to earn $92 million to $100 million over the traditional weekend.
Counting Friday's ticket sales, the Steven Spielberg-directed musical has generated $21.6 million to date. 5 with $546,000 from 2,810 venues. Disney's big-budget "West Side Story" remake landed at No.
Buoyed by strong audience sentiments (it landed a coveted "A+ CinemaScore), "Sing 2" collected $5.2 million from 3,892 venues on Friday. It's a solid result for a family friendly film at a time when parents with young kids have been more wary about going to the movies. Over the extended five-day frame, the cartoon sequel is expected to reach $42.8 million, on par with projections.
1 spot on domestic box office charts, Universal's animated musical comedy "Sing 2" is inching past its fellow newcomer, Warner Bros. sci-fi sequel “The Matrix Resurrections," to land in second place. With "No Way Home" easily retaining the No.
New to box office charts, Sony's "A Journal for Jordan" barely cracked the top 10. The romance drama, directed by Denzel Washington and starring Michael B. It's estimated to make $7 million (give or take) over the traditional weekend. Jordan, landed in eighth place with $285,000 from 1,972 theaters on Friday.
The film — directed by Lana Wachowski and starring Keanu Reeves and Carrie-Anne Moss — is targeting a five-day total around $41 million from 3,550 venues while debuting simultaneously on HBO Max. Right now, it's neck-and-neck with "Dune" ($41 million) as the biggest debut of the year for Warner Bros. In third place, the fourth “Matrix” installment brought in $2.7 million on Friday, boosting its tally to $13.2 million.
Should estimates hold (and let's face it, they will), the latest Spidey adventure will have made $478 million in its first 10 days in domestic theaters. That's more than double the next highest-grossing movie in Marvel's "Shang-Chi and the Legend of the Ten Rings," which earned a mighty $224 million.
"Spider-Man: No Way Home" is unwrapping another big box office bounty on Christmas.

Jin returned to Korea on Monday, December 6, self-quarantined and was released after testing negative twice. RM came back on Friday, December 17, underwent self-quarantine in his home and tested positive on Saturday evening, thought he's not exhibiting any symptoms. However, he developed mild, flu-like symptoms on Saturday afternoon and tested positive in the evening. Suga returned to South Korea on Thursday, December 23, and tested positive the next day, but did not show any symptoms, Big Hit Music said.
On Saturday, RM and Jin tested positive for COVID-19 one day after fellow member Suga was also diagnosed. The three members completed their second rounds of COVID vaccinations in late August, Big Hit Music said, and none of them had contact with each other or other BTS members. Their symptoms are either mild or non-existent.
concerts were BTS' first since 2019, before the COVID-19 pandemic began. The U.S. The group is nominated at the 2022 Grammy Awards for best pop duo/group performance for their hit song "Butter." After their extended period of rest, the group's first since 2019, they will work on a new album, which will mark a "new chapter," and prepare for an upcoming March tour in Seoul.” />
Three members of superstar K-pop group BTS have tested positive for COVID-19 over the past two days, their management company Big Hit Music has announced.
All seven members of BTS were on an official break where they could rest, recharge and spend time with their families after their busy schedules, which included their "Permission to Dance on Stage" concerts in Los Angeles and the iHeartRadio Jingle Bell Tour earlier in December. The singers returned to South Korea after their personal travels and self-isolated separately.

Accolades for Crowe included a Grammy for "Fireball" in the country instrumental of the year category in 1983. An annual Kentucky festival, the J.D. He received the Bluegrass Star Award in 2011, an honorary doctorate from the University of Kentucky in 2012, and a lifetime achievement award from the Lexington Music Awards in 2016. Crowe Bluegrass Festival, is named in his honor.
Testimonials began to come in from the legions of musicians who considered Crowe an influence or hero, including Billy Strings, one of the current popularizers of bluegrass music.
"Nobody ever had the groove, the touch, tone and timing of this man," wrote the band Blue Highway. "Prayers for his family and for the whole Bluegrass community. This one really hurts."

We will all miss Mr. The friendship and inspiration he provided us will never be forgotten. Crowe will always live on. One of the finest to ever pick up a five-string banjo and one of the coolest cats of all time, his banjo is on some of our favorite bluegrass records. James Dee Crowe." As long as there’s bluegrass, the spirit and impact of J.D. From leading the Kentucky Mtn Boys and the New South, working with Jimmy Martin as a teenager, playing with the legendary Bluegrass Album Band and more, his picking has been a part of the soundtrack of all of our lives. Please keep his family, friends, and fans in your prayers in the coming days and weeks. Wrote the Grascals in a post, "We lost a true American treasure today.
To me, the Crowe banjo tone is flawless. Heaven sure is building up a heck of a Bluegrass band. We'll miss you, Crowe! See you up there." Like many, I was inspired by Earl Scruggs to play the banjo. Crowe on banjo and Tony Rice on guitar. Some of the greatest bluegrass that will ever be made had J.D. Wrote Adam Lee Marcus on Facebook: "The banjo I have played since 2004 is a J.D. Crowe model Gibson 'Blackjack.' I didn't choose it because I wanted to sound like him, but to sound like myself on a banjo built to sound like his. But when I heard Crowe play, I heard how percussive a banjo could sound. Flawless timing, tone, and tasteful playing.

Bluegrass Today's John Lawless wrote: "Everyone in bluegrass music was fond of J.D. Crowe was a carnival ride. Two generations of pickers have studied his playing, and even those who are taking the three finger style in new directions, like Béla Fleck, Tony Trischka, and Noam Pikelny, will readily acknowledge Crowe as a major influence and an unmistakable stylist in his own right. His playing was fun, lighthearted, and even frivolous at times, all coming from his own distinct personality."” /> If Earl Scruggs was a machine, J.D. Crowe… No one every played bluegrass banjo more passionately, more inventively, or more interestingly than he did. His affable, humble, and fun-loving personality made him everyone’s friend, and any attempts to shower him with praise for his music were always met with deferrals and a bit of embarrassment…
Other well-known musicians who did time as part of the New South over the years included country music legend Keith Whitley, Gene Johnson, Don Rigsby, Richard Bennett, Ron Stewart, Phil Leadbetter and Rickey Wasson.
A week ago, the website Bluegrass Today reported that his son, David, said he was in a rehab center after a brief hospitalization but was expected to be home for Christmas. A cause of death was not immediately given, but Crowe was reported to have been suffering from chronic obstructive pulmonary disease (COPD).
A finer banjo player will be hard to find here but I know Heaven is welcoming this good and faithful servant in with open arms today. Crowe’s passing this morning. Tweeted Donna Ulisse, a country singer-songwriter who has turned to bluegrass, "The wind is whipping up a moan outside my backdoor and I can only imagine that even the sky is sad to hear of J.D. I was blessed to get to know him a little and what a grand gentleman he was."
Crowe, a banjo player who helped define the instrument for generations of bluegrass fans, died Friday, his family announced on Facebook. J.D.
The Lexington, Kentucky native's Christmas Eve death made it a blue Christmas for aficionados of bluegrass who remember that another legend of the genre, guitarist Tony Rice, a former member of Crowe's New South, died on Christmas day a year ago. Crowe's death also follows closely on the heels of the passing of another banjo legend, friend and compatriot Sonny Osborne of the Osborne Brothers, who died in October of this year.
Mark O'Connor, the legendary roots fiddler-guitarist, wrote on social media that Crowe was "one of the absolute greats in bluegrass, and a really wonderful mentor to me when I was a young boy coming up." O'Connor was in Crowe's band for just a few weeks in the mid-'70s when he was 14. He was a wonderful mentor, and what a great bandleader in the music… "He would take me out and buy me White Castle burgers after our shows with the New South until I couldn't eat anymore. and no better bluegrass banjo player in the history other than Earl Scruggs."
In 1961, Crowe formed the Kentucky Mountain Boys, which included Doyle Lawson and Larry Rice. Crowe & the New South, as they became one of the key bands in the history of bluegrass, especially after recording the 1975 album officially called "The New South" and unofficially known among the cognoscenti as "0044," after its Rounder Records catalog title. In 1971, the group's name changed to J.D. The band at that time included a future who's who of bluegrass: Rice on guitar, Ricky Skaggs on mandolin, Bobby Sloane on bass and Jerry Douglas on guitar. Crowe started out with Jimmy Martin, joining that legend's band, the Sunny Mountain Boys, in 1956 when he was 19.
What can I say? He had tone, taste and TIMING like no other. "Woke up this morning to hear the sad news about J.D. He was an absolute legend," Strings wrote. Crowe. "He will be remembered as one of the greatest to ever play bluegrass music. He was just the best bluegrass banjo player out there, man." The space in between the notes he played and the way he rolled them out just kept the band driving, running on all cylinders like a V8 engine.
Prayers needed for all during this difficult time," family members said in a post on his fan club page. "This morning at around 3 a.m,, our dad, JD Crowe, went home.
"We lost one of the greatest banjo players ever to pick up the five early this morning," tweeted Bela Flek. "Farewell and thank you, JD Crowe."
Crowe embarked on a farewell tour in 2012 but had continued to perform at shows and festivals until COPD reportedly forced him to give up performing for good in 2019.

Finally, British newcomer Aleem Khan recently swept the board at the British Independent Film Awards with his moving culture-clash drama “After Love,” and is just the kind of homegrown indie talent that the committee might like to reward. Among the players with corresponding buzz in the best film race, Branagh, Villeneuve, Anderson, Coen or Scott would all be unsurprising nominees, but equally unsurprising omissions — especially if the committee looks to further diversify the category with a world-cinema favorite such as current critics’ darling Ryûsuke Hamaguchi (“Drive My Car”) or veteran Pedro Almodóvar (“Parallel Mothers”).
Supporting Actress
That could work in favor of “The Souvenir Part II” helmer Joanna Hogg, a British critics’ darling never previously recognized by BAFTA, and either or both of this year’s acclaimed, Netf lix-backed debuts from actors-turned-directors, Rebecca Hall’s “Passing” and Maggie Gyllenhaal’s “The Lost Daughter.” If they’re feeling especially daring, Frenchwoman Julia Ducournau could pop here for her flashy, Palme d’Or-winning provocation “Titane.” Still, let’s say that Campion looks the likeliest nominee here, while jurors will probably want to maintain last year’s healthy female presence in the category. It’s all but impossible to second-guess the preferences and peculiarities of a small committee, where individual passions can sometimes override blander consensus.
Still, there’s no reason to bet against Kristen Stewart being nominated for her inspired interpretation of an enduring British national treasure in “Spencer,” or against four-time BAFTA winner Colman’s raw, psychologically complex turn in “The Lost Daughter.” (She may have been surprisingly passed over for “The Father” last year, but this is a more dazzling showcase for her gifts.) Oscarbuzzed names like Penélope Cruz (“Parallel Mothers”), Nicole Kidman (“Being the Ricardos”) and reigning BAFTA champ Frances McDormand (“The Tragedy of Macbeth”) are also firmly in the mix, but last year’s outcome suggests the committee favors underdogs over megastars, which could also see Lady Gaga (“House of Gucci”) miss the cut in favor of less talked-about performances. After Mulligan missed the cut last year, it’d be foolish to think of anyone as locked for a nomination in the acting categories.
“Belfast” stars Jamie Dornan and Ciaran Hinds have been performing well in other precursors, though one suspects the committee, looking to spread the wealth, might not find room for both: this is a ripe opportunity for left-field scene-stealers including Richard Ayoade (“The Souvenir Part II”) and Colman Domingo (“Zola”), or for Jason Isaacs, the British member of the powerhouse “Mass” quartet.” /> Possibly the most open and unformed of all the acting races so far, though you’d expect the committee to gravitate toward Kodi Smit-McPhee’s haunting presence in “The Power of the Dog” and deaf actor Troy Kotsur in the Sundance-lauded heartwarmer “CODA” — the kind of beloved U.S. indie that could overperform or slip through the cracks entirely with BAFTA.
Last year’s nominations, however, were an excitingly different story, as concerns about the voting body’s limited diversity and conservative taste led BAFTA to hand over several major categories to select nominating committees rather than the group at large.
It’d be a shock if hometown favorite Benedict Cumberbatch isn’t nominated for his electric, against-type performance in heavyweight best film contender “The Power of the Dog,” while Will Smith’s ingratiating portrayal of tennis dad Williams in “King Richard” will likely charm the committee, however the film fares with BAFTA’s general body. It’s one of biggest indications of the cultural chasm between BAFTA and AMPAS that nine-time Oscar nominee Denzel Washington has never been up for a BAFTA: look for the committee to make amends by finally nominating him for going Shakespearean in “The Tragedy of Macbeth.” Another Brit, Andrew Garfield, may find favor for his bravura musical turn in “Tick, Tick … Boom!”
This year, they’ll be hoping to build on that improvement. Suddenly, there were no safe bets, as expected acting nominees including Carey Mulligan, Viola Davis, Olivia Colman and Gary Oldman fell away, replaced with lesshyped standouts Wunmi Mosaku, Bukky Bakray, Adarsh Gourav and Niamh Algar. Among directors, it was out with eventual Oscar nominees David Fincher and Emerald Fennell, and in with arthouse wild cards Jasmila Žbanić and Shannon Murphy. The process certainly yielded greater diversity — twothirds of the acting nominations went to people of color, while a majority of the directors nominated were women — even if the final winners’ vote, handed over to BAFTA as a whole, was less so.
Look for Kenneth Branagh’s “Belfast” to lead the field on a combination of home advantage and general awards-season momentum, while Jane Campion’s universally admired “The Power of the Dog” is also assured a spot. The return of the nominating committees for this year’s acting and directing races makes for an unpredictable outlook in those categories, though best film, where mass voting prevails, has at least a few safe bets. Support across BAFTA’s craft chapters should put Denis Villeneuve’s spectacular “Dune” across the threshold, though beyond that, the waters are murkier.
So while any combination of Ruth Negga (“Passing”), Kirsten Dunst (“The Power of the Dog”), Aunjanue Ellis (“King Richard”), Ariana DeBose (“West Side Story”) and Caitriona Balfe and/or Judi Dench (“Belfast”) could make the list, expect at least a couple of them to fall to the likes of Vinette Robinson (a deserved BIFA winner for “Boiling Point”), Kathryn Hunter (“The Tragedy of Macbeth”), Swinton (“The Souvenir Part II”) or the “Mass” duo of Martha Plimpton and Ann Dowd. As with last year’s supporting categories, expect any surprises amid the already fancied season front-runners to come from the British indie realm.
Lead Actress
All-American favorites such as “King Richard” and “West Side Story” have been more quietly received in the U.K., which could be good news for Paul Thomas Anderson’s offbeat “Licorice Pizza,” Joel Coen’s highbrow “The Tragedy of Macbeth” (well-regarded in the U.K. The wild card to watch out for may in fact be the brash adult soap opera of “House of Gucci,” on the strength of recent BAFTA Fellowship honoree Ridley Scott’s popularity: back in 2007, he even got the Oscar-sidelined “American Gangster” into the best film race. since it closed the London Film Festival) or Pablo Larraín’s “Spencer” (though local Diana nostalgia didn’t propel it as far at the box office as hoped).
Until last year, handicapping the BAFTA nominees was a considerably more straightforward process. Given the British film awards ceremony’s ever-closer shadowing of the Academy Awards since moving to the Oscar precursor circuit 20 years ago, voters tended to mirror the pool of contenders across the pond, with the odd home-turf favorite granted a greater presence.
Supporting Actor
awards run, meaning Carrie Coon could be a beneficiary. “Passing” is the kind of delicate work that fares better with a select voting body, so Tessa Thompson could well leapfrog some flashier turns to a nom. This also gives a boost to acclaimed non-English-language performances lagging behind in the buzz stakes: if there’s a moment for Cannes breakouts Renate Reinsve (“The Worst Person in the World”), Agathe Rousselle (“Titane”) or border-blurring icon Tilda Swinton (“Memoria”) to show up at a major awards-season pitstop, it’s here. With that in mind, long-serving character actor and recent BIFA winner Joanna Scanlan has a strong chance of showing up for her shattering turn as a white Muslim widow uncovering her husband’s double life in “After Love.” Another BIFA nominee, “The Nest,” made waves in the U.K. a year after its U.S.
indies. Other possibilities include Riz Ahmed (“Encounter”), Simon Rex (“Red Rocket”), Nicolas Cage (“Pig”) and James Norton (“Nowhere Special”). Wild cards to look out for? One of those, “The Nest,” could also score here for Jude Law. Stephen Graham is one of the country’s most revered character actors, and he’s on roaring form as a spiraling chef in the one-take restaurant drama “Boiling Point.” Adeel Akhtar, who defeated GraGutter Credit ham at the BIFAs for his turn in the interracial love story “Ali and Ava,” could land a nomination in recognition of a year that saw him show up in multiple high-profile U.K.

"There's a general adage," he says, "as long as there’s inflation, tax deferred is tax forgiven." Postponing taxation can be valuable, says another attorney who has worked for Streamline investors.
The whole experience left a sour taste, Kessler says.
However, Salveson disputed the penalty, arguing that the solar projects were not overvalued.
Salveson, an executive producer on the film, and her business partner, Ryan Donnell Smith, have each been sued for allegedly failing to ensure a safe set. 21, when the actor fired a prop gun and killed cinematographer Halyna Hutchins. The tragedy has brought intense scrutiny on all aspects of the production, including Salveson's proprietary financial model. One of her films was "Rust," the Alec Baldwin production that has been shut down since Oct.
At the end of five years, Salveson’s company would take ownership of the panels. The client had paid effectively nothing out of pocket, but could claim a tax deduction – spread over five years – worth 100% of the purchase price of the solar panels.
Salveson is 36. As the Hollywood Reporter reported last month, she had a series of jobs before landing in film financing, including surf instructor, assistant at a rehab center, a job in the office of her father, tax attorney Kent Salveson, and host of a YouTube show called "Bath Time TV.”
The Golans took a deduction for the investment. The court reduced the Golans’ deduction, but allowed them to claim the $152,250 in debt as a legitimate expense. The IRS challenged it, and Salveson retained an attorney to defend them in tax court. The court also ruled that the IRS had not shown that the solar equipment was overvalued.
They don’t want to give it back. They earned it. They’re constantly looking for vehicles they can invest in that would give them some tax deferral." "There is so much money lying around with wealthy people, and they’re trying to find something to invest in," Hein says. "There are a lot of people that are very pro-tax deferral. This is pretty common with the self-made wealthy individuals.
Kessler also helped Emily Salveson get an interview with Variety and invited her to participate in the panel at Cannes, lending her credibility and career support. Kessler did several drafts of the documents, but ultimately Kent Salveson said he was dissatisfied with the work.
It is not clear whether the IRS has investigated Streamline. The IRS declined to comment, citing the confidentiality of tax records.
Salveson has disputed that characterization. Salveson has also been accused by the IRS of promoting “abusive tax shelters,” which allowed clients to claim excessive deductions and tax credits for solar panel projects.
So an investor could wipe out tax liability for the current year and get a sizable refund for taxes paid in prior years. Under a provision of the CARES Act – passed in 2020 to help alleviate the pandemic – taxpayers can also carry that deduction back up to five years.
"I did a lot of work, and he didn’t like it," Kessler says.
The IRS alleged that Salveson owed $794,000 in unpaid taxes for those two years, plus $595,000 in fraud penalties, $260,000 in delinquency penalties, and $339,000 in interest.
A Streamline client might agree to purchase a film for $1 million. They can pay just a fraction of that as a down payment – say, $100,000 – and personally guarantee a loan for the remaining $900,000. That guarantee might never be exercised, but it can still be used to take a deduction for the full $1 million. Just as with the solar energy investment, Streamline’s film investment model relies heavily on debt.
On his own taxes for that year, he had claimed a ​​$368,215 deduction for the cost of installing the solar equipment. Salveson took that as vindication. That motion was denied on procedural grounds. The IRS had disallowed that as well, and one IRS lawyer described his use of tax credits and bonus depreciation for solar projects as “bullshit,” according to a filing Salveson submitted in his bankruptcy case. After the Golan ruling in 2018, Salveson asked the bankruptcy court to reinstate his deduction.
In its 2019 explanation, the IRS stated that Salveson had “not fully considered the consequences to himself or the customers” of his taking ownership of the solar projects after five years. But the IRS alleged that Salveson did not tell investors that.
They get tickets to the premiere. These people want to be involved in films. “You’re digging in the wrong direction,” the attorney says. “The tax benefit is just icing. I think that’s the primary motivation.”” /> They hobnob with famous people. They want to be around actors and the glamor of the film industry.
For support, Salveson pointed to an earlier tax court case, involving his clients Don and Sheila Golan. But no money had changed hands. The transaction was financed with a $152,250 loan from Salveson, a deferred down payment, and a federal tax credit. The Golans had acquired a solar project from Salveson in 2011 for a purported price of $300,000.
She did not cite her father. Kessler told Variety that he spoke with the elder Salveson several times on the phone about how to adapt his tax incentive model to the film business. But according to Kessler, it was Kent Salveson who had hired him to draft some documents. He recalled Salveson saying that he “beat the IRS” in an earlier tax dispute.
He is formally identified as an adviser to the company, and he helped structure the company's financial model for film investment, according to an attorney who helped launch the firm. Kent Salveson, 71, is also a key figure in Streamline Global.
In interviews and in public appearances, she has said that the model was able to "solve the problem of risk" for investors. For the last few years, Emily Salveson has been touting a new model for investing in film.
He filed for personal bankruptcy in 2003 and again in 2010, after his company, Campus Realty, collapsed and its homes were foreclosed upon. Salveson continued to work in real estate development. Salveson then turned to tax credits for renewable energy, launching Solar Energy Equities and Clear Sun Corp.
“Looking at the entertainment industry, I thought it was baffling to me that people were losing so much money so frequently by investing in films,” she said. “So when I created this financial model, I thought, ‘Is there a way to make it so that the profits of the film are not what define whether the investor makes money or not?’”
"These massive tax cuts seem too good to be true," Streamline said on its website, "but they are battle-tested by the Silicon Valley elite, many of whom are Streamline clients."
On its website, Streamline states that it "works within the tax code."
The client would agree to a purchase price, and would agree to pay Salveson a 30% down payment. Salveson would consider the remaining 70% a loan, which would be slowly paid off as the host paid monthly power bills directly to Salveson. The client could use his or her federal tax credit – which also happened to be 30% – to cover the down payment.
“Additionally, Salveson has not shown that he would properly account for receiving or repossessing a solar energy system by including the value of the system and the income stream in his (or his entities) income.” “Nowhere in any of the provided documentation, on the website or in any interviews or meetings with Salveson has Salveson been able to show that he has let the customer/investor know that when they sell the system back to him it will have no basis which will result in a taxable gain to the customer,” the IRS said.
Kent Salveson’s site makes the same assurances, with one change: the word “Streamline” is replaced with “TCA” – for Tax Credit Attorney.
“Addressing the needs of the film industry, and building a business that does that, is my passion," she said. I was determined to build a business of my own and, as a businesswoman in Hollywood, grow prouder of my team with every Streamline achievement." "My father continues to mentor and inspire me every day and I appreciate all of his fatherly advice.
But others are skeptical that the model makes much sense for investors, at least in the way that it’s advertised. Warren Goz is a film producer who made use of Section 181 when he ran Grand Army Entertainment, which launched in 2006 and shut down amid the credit crisis a few years later.
Kessler is an expert in Section 181, a tax incentive for film investment. She credited a team of accountants and attorneys for helping her get the company off the ground, including attorney Hal “Corky” Kessler, who was moderating the panel.
“Usually they come back many times after the first time,” she said in an interview in June 2020.
The attorney who works with Streamline investors, who asked not to be identified, said that one of his clients had been audited, and the IRS approved the return with no change.
Salveson filed a tax court petition in June accusing the IRS of numerous errors, and seeking a tax refund. The IRS filed an answer in November, restating its earlier allegations and accusing Salveson of failing to substantiate hundreds of thousands of dollars in claimed deductions. The case remains pending.
“It's a pure deferral play.” "There’s no magical way to not pay tax when the chickens come home to roost,” Hein says.
The IRS also accused him of concealing and commingling assets, failing to keep adequate records, and failing to cooperate with its investigation. According to the IRS, Salveson had not filed his tax returns on time eight years in a row. In April 2021, the IRS alleged that Salveson had failed to report $1.86 million of income in 2015 and 2016.
Emily Salveson has said that some investors are so pleased that they invest again – meaning they could repeatedly defer their tax obligations.
Once the solar panels started generating revenue, that revenue would be taxable income for the investor. In theory at least, the same drawback applied to the solar energy investment model. And once Kent Salveson bought back the solar project after five years – either for a purchase price or by forgiving the balance of the debt – then that, too, would be taxable for the investor.
In a separate statement, Emily Salveson said that she appreciates her father's mentorship.
They declined to address the allegations leveled by the IRS.
In addition to its work in the film business, Streamline also promoted investments in renewable energy and low-income housing. Hofmeister said that no Streamline clients have actually invested in those companies. In her IMDb bio, Emily Salveson said that the company has a "strategic partnership with Clear Sun Corporation and EEXCEL Communities” – her father’s companies.
But the tutoring program was suspended within a couple of years due to a property tax dispute, according to an L.A. In the early 1990s, Salveson launched EEXCEL (Educational Excellence for Children with Environmental Limitations), which leveraged government-backed loans to build affordable housing in South L.A. Kent Salveson has been working for more than 30 years in businesses that rely on tax-incentivized financing. Times report. Salveson partnered with USC to offer tutoring programs, an idea that generated nationwide publicity.
Todd Hein is an accountant who has worked closely with Streamline. He defends the company’s model, saying it is a legitimate way for wealthy individuals to defer paying taxes.
“The greater value that Salveson could assign to a system the greater the tax benefits and the better it was for both Salveson and the customer. “Using Salveson’s arrangement the customer/investor has no financial risk and in fact benefits from Salveson overvaluing the solar energy system,” the IRS concluded. This approach gave the customer no reason to question the value or cost of the solar energy systems as they were effectively out of the business deal in five years.”
In a statement to Variety, Kent Salveson said that he has worked as an outside legal counsel for Streamline, but that his daughter deserves the credit for building the company.
But her company, Streamline Global, has nevertheless come from nowhere to help finance more than two dozen films in the last four years. It's a pitch that's been heard before in the film industry, and it tends to end badly. She has done it thanks to provisions of the tax code that help wealthy clients defer their tax obligations.
"I wish I could take credit for Streamline’s accomplishments, but I can’t," he said. I do not own any part of Streamline, nor am I an employee or officer. She may have learned about some of the tax concepts from working with me, but this idea was hers, and she is the one who built the company. I am supportive but did not support her financially or provide capital to the business. My motto has always been 'Do well by doing good,' so I am proud to see my daughter carrying on that tradition in the entertainment industry by increasing funds available to finance film projects." "This is all Emily. My role has been as outside legal counsel for Streamline and not for any of Streamline’s investors.
Kent Salveson has his own website – – which also touts investments in film, renewable energy, and low-income housing. His website contains language and graphics that match those found on Streamline’s website nearly word-for-word.
In other words, Salveson appeared to be far more diligent about claiming credits and deductions than he was about reporting income.
Salveson challenged the penalty in tax court, but the court dismissed his petition due to lack of jurisdiction. The service cited four other Clear Sun clients, in addition to the Golans, who had also claimed inflated or improper credits and deductions. The IRS imposed the $9,000 penalty for promoting abusive tax shelters the following year.
Streamline's spokesperson, Sallie Hofmeister, did not dispute Kessler's account, but said that he "has violated his duty of confidentiality as an attorney and any statements by him should not be made public."
Salveson told agents that the total cost of materials, labor and permits for the panels was covered by the 30% down payment, according to the IRS document.
Hein says that once a project starts generating revenue, that income will be used to pay down the guarantee, and it will be taxable. But that might take a while. In the meantime, the investor will have enjoyed the use of their other income without paying taxes on it.
The IRS agents alleged that Salveson dramatically inflated the value of the solar projects, sometimes by double or triple their true cost. In 2019, the IRS assessed a $9,000 penalty against Salveson for promoting this deal.
"Nothing cannot be upheld in an audit," the company states. "Should an audit occur, Streamline works with taxpayer & CPA & Expert Counsel to defend the client."
You’re going to be taxed on every single bit of that.” “Whatever income comes through in that asset, you’ve got zero basis in it. “I’m very skeptical when people are promoting an investment in film based on 181,” Goz says, noting that investors might be able to write off their stake initially, but will end up owing tax sooner or later.
Emily Salveson appeared on a panel at the Cannes Film Festival in July 2017, in which she touted her company’s new model for film investment.
As a film production incentive, Goz says that Section 181 “is really not a difference maker at all.”
Under Section 181, Streamline investors can write off the full cost of a film project as soon as a film goes into production. (Without that provision, they would have to wait to take the deduction until the film was actually distributed.) Congress created the incentive in 2004 as a way to keep film production from going overseas.
Salveson is disputing the allegations in U.S. The revenue service ordered Salveson to pay $2 million, including back taxes, interest, late fees, and almost $600,000 in fraud penalties. The IRS has also accused Kent Salveson of civil tax fraud for failing to report income in 2015 and 2016. Tax Court, and claims he may be entitled to a refund.
“Every few years somebody gets something that’s too good to be true, and people think they’ve discovered a pot of gold,” says Sky Moore, a veteran Hollywood attorney. “There’s no way it makes sense.”
Financing films is hard, and even Oscar-winning producers and directors routinely struggle to scrounge up funding for their passion projects. So when someone appears to be raising money without breaking a sweat, it tends to raise eyebrows.
According to an IRS "explanation of items," Salveson’s company would enter into a contract with a property owner, or a “host.” The property owner would allow Salveson to install solar panels and agree to buy the power from Salveson’s company at a discounted rate. Salveson would then sell the solar panel system to a client who needed a tax deduction.
“The claim is abusive and retaliatory in nature.” “Taxpayer has not engaged in promotion of abusive tax shelters,” he argued, saying the valuations were reasonable and supported by independent appraisals.

Things you didn’t know about David Arquette:
But for me, if I like a kids movie, I’ll do a kids movie because I have kids. But if you’ve been in Hollywood long enough, you recognize that there’s a roller coaster of sort of highs and lows, so you have to figure out how to withstand the winters. If somebody trusts me enough to do a dramatic role, I’m happy to. But I’ve always just tried to do different stuff. To this day, people still don’t necessarily think of me as a dramatic actor, for sure. So typecasting is fine when the alternative is your phone’s not ringing at all. A lot of people are more calculated about their choices.
It’s been more than 10 years since “Scream 4”; did you ever expect to come back?
Horror hero: He’s a big fan of Ari Aster’s films “Midsommar” and “Hereditary.”” />
What do people most want to talk to you about when they see you? You’ve done such a wide variety of projects.
And I have a teacher who's pointed out there's a lot of lessons that they teach that are very similar to to wrestling. A lot of wrestling fans recognize me now since my documentary, “You Cannot Kill David Arquette.” I’m not wrestling at the moment; it’s hard on the body. It’s an amazing world. “Scream.” Or wrestling. To make sure you’re quick but your actions are purposeful and safe at the same time. But I’ve learned a lot from wrestling — actually learned about acting, about being in the moment, taking your beats, taking your time. I'm studying clowning right now.
He’s a horror icon. It would be silly for them not to. But I didn’t know how or when. It’s such an iconic brand and series and killer. There was also the series, so I always felt like it was alive in these multiverses. I mean, I figured.
Are you going to play him?
Age: 50
And it’s great to see that Woodsboro is more diverse, a reflection of the world we live in. That really reminded me of us when we were younger — the way they all got along. It’s scary and it’s really funny. They took the world and expanded on it, and it’s got this incredible new cast. And the writers as well. Well, I could tell you that [directors] Matt Bettinelli-Olpin and Tyler Gillett did an incredible job.
You’ve done your share of dramatic roles, but did you ever worry you were being typecast in comedies?|
What sparked the interest in clowning?
Clowns are designed to sort of make us laugh at ourselves and allow you to laugh at them. In fact, it took my 15 years but I've secured the rights to his story. Clowns are sort of a reflection of society. So I don't consider scary clowns really clowns. And especially in America right now,  there's such a focus on the scary clown, which isn't really a clown. Well, I've loved Bozo the Clown since I was a kid. And, Bozo's the perfect sort of Ambassador for a mission like that. We're trying to sort of bring back the kind clown.
We'll see. I'm not sure. (Laughs) Those are big shoes to fill.
I’d love to talk to you about “Scream,” but I’m guessing you can’t tell me much.
Birthplace: Bentonville, Va.
Have you ever read something about yourself that you just had to laugh? You’ve said you avoid reading reviews.
14. Now Arquette will reprise his role as lovable Dewey Riley in the fifth “Scream” film in the iconic horror series, hitting theaters Jan. Though David Arquette is a member of an acting dynasty (his parents and sister Alexis were both actors, as are siblings Patricia, Richmond and Rosanna), he originally didn’t think acting was for him after repeatedly auditioning as a kid and never being cast. It was only through the encouragement of a high school teacher, Ben DeBaldo, that he discovered his love for the craft and the confidence to try again.
But my favorite review said something like “I couldn’t get past the fact that I feel the wrong Arquette was cast in this role.” They meant Alexis, and honestly, Alexis would have crushed it. I did “The Rocky Horror Picture Show,” and I played Frank N. Yeah, it was my favorite review ever. Furter. I was like, “That guy was right.” It was this tough, tough, tough experience. It would have been far better. One night, Alexis was doing a show, and she did a performance to “Sweet Transvestite” and just tore the house down.

Italian premieres include apocalyptic Christmas movie “Silent Night,” starring Keira Knightley; Tim Sutton’s moody Western “The Last Son,” with Heather Graham and Sam Worthington; and New York-based Turkish director Mustafa Ozgun’s drama “COVID19 — Ground Zero,” produced by Donald Kushner.
Steven Zaillian, who in 2019 came to Capri to be honored as screenwriter of Martin Scorsese’s “The Irishman,” is shooting his “Ripley” TV series, based on Patricia Highsmith’s novels, for Showtime in Italy. Cameras have been rolling in Capri, Sorrento and Naples, among other locations.” />
For sanitary safety reasons, the small picturesque town of Sorrento, overlooking the bay of Naples, will become the main hub where guests, most of whom this year will be flying from Europe for the Dec. 26-Jan. 2 shindig, will congregate.
Bell will be receiving the fest’s European Breakout Director of the Year award. Also from the Blighty, actor Sadie Frost making the trek to promote British director Kirsty Bell’s COVID-19 debut feature lockdown drama “A Bird Flew In,” having its international premiere. Expected international attendees include directors Michael Radford and Terry Gilliam, who are fest regulars, coming from the U.K.
He shares pride that this year’s closing ceremony will take place in Naples’ 18th-century Teatro San Carlo, the oldest opera house in Europe. It will host performances by Israeli singer and human-rights activist Noa and Italian tenor Vittorio Grigolo. “This year we are navigating the [COVID] crisis while also expanding our horizons,” says Capri Hollywood fest founder and chief Pascal Vicedomini.
Film Festival, dedicated to launching Oscar hopefuls and establishing a creative and business bridgehead between Hollywood and Italy’s film and showbiz communities, is countering the Omicron variant by expanding its venues beyond the “blue island” off the coast of Naples. For its upcoming 26th edition the Capri Hollywood Intl.
The closing gala will see Neapolitan actor Toni Servillo, who stars in “Hand of God” — and also has lead roles in two other pics recently launched from Venice, Mario Martone’s “King of Laughter” and Leonardo Di Costanzo’s “The Inner Cage” — celebrated with a career award. Tribute will also be paid to late great writer-director Lina Wertmüller, with whom Capri Hollywood had a longstanding relationship.
“Lina was the first person to give me her trust, believing from the start in my vision for Capri Hollywood; she became my lucky charm,” says Vicedomini, who was instrumental in getting the wheels in motion — with help from stars such as Helen Mirren, Vanessa Redgrave and Sophia Loren — for the concerted effort that led to Wertmüller’s honorary Oscar in 2019 and subsequent star on the Hollywood Walk of Fame.
Vicedomini is also pleased that several Netflix titles, including Jane Campion’s “The Power of the Dog” and Paolo Sorrentino’s “The Hand of God,” which is Italy’s international Oscar contender, will be screening as part of their awards season push.
film communities. The informal shindig, which attracts industry heavyweights and stars from Hollywood and Europe — and is followed by cinema showcase Los Angeles, Italia, running April 18-24 — helps foster collaborations between the Italian and U.S.
Also expected on hand are “Gossip Girl” star Ed Westwick, model and actor Mădălina Ghenea (“House of Gucci”), helmer Bille August and, from the U.S., Bobby Moresco and Paul Haggis.
13 in Rome with the fest’s Capri Legend Award. Elizabeth Hurley, Capri Person of the Year honoree won’t be there, instead organizers say Richard Dreyfuss was honored in Dec.

And hide behind these things
Smiles and smoke and screens
Not getting what you need, need
Or did those lights go out on Broadway?
Your little purse a pharmacy
Think if you can just keep spinning
I see you.' So I can write it" from both sides. And you're like, 'Oooookay. Somebody’s laughing and smiling, but you see that little crack. "I've certainly been the girl who's revealing herself by the things she's trying to hide with consumption of all kinds. "I've definitely been on both sides of that," says Clark. But I've also been the person who has seen that.
Vincent employs throughout the "Daddy's Home" album builds to a peak here as they sing: "You can't hide, you can't hide from me." Clark had a model in mind for how the song crests with that chorale, even if her song ends up being a bit warmer and more hopeful than its classic-rock template. The Greek chorus of female background vocals that St.
You can't hide from me
"To me, it was sort of a feminine version of 'You Can't Always Get What You Want' for 2021. That was in some ways an ode to the Stones, a little bit," she says.
So no one sees you not getting
Listen to the track, above, and read the lyrics, below. And may human connection be all the Christmas opiate the masses need.
The narrator of the song is seeing behind the facade of a friend who may be dealing with unfulfilled dreams as well as solitude ("Are you still working on your screenplay / Or did those lights go out on Broadway?"), and whose Gucci purse's self-medicinal contents betray what her face is working overtime to conceal.
The kind of encounter described in "…At the Holiday Party" could happen any time of year, theoretically, but a Christmas party is "a completely different feeling, I think. Thats when people are really imbibing and stuff like that," says Annie Clark, aka St. What are you gonna do next year?'" We're talking about cold outside, end of the year — 'What have you done? Because the season is extra reflective, when it's melancholy, it's extra melancholy. We're not talking about a Rose Day summer soiree. Vincent, discussing the song with Variety. "It definitely had to be a holiday party.
Pretend to want these things
Red wine-lipped a little early
You won't miss what you've been missing
At the holiday party
Reminiscing got us laughing
That's when I saw your face cracking
Not getting what you need
Are you still working on your screenplay
Your Gucci purse a pharmacy

Pills and Juuls and speed
So no one sees you not getting
Need, need
The best holiday song of the year isn't on a Christmas album. It's a song for anyone who, in the midst of people concerned about tracking their lost shipments, is actually losing their shit … Vincent's "..At the Holiday Party," a track from her album "Daddy's Home," which takes a look at the other side of seasonal revelry — that feeling of being alone in the crowd and trying to put on a festive face while living a life of quiet desperation. or just who, like the song's narrator, is able to pick out the partygoer who's just barely keeping it together. It's St.
You can't hide, you can't hide from me” />

The Thursday earning is the third-highest Thursday gross of December of all time, and the highest Thursday take for Sony, the "Spider-Man" franchise and for a superhero pic.
In total, seven new films opened this weekend, including "The King's Man," "The Tender Bar," "A Journal for Jordan," "American Underdog" and "Licorice Pizza." But none of them will top "Spider-Man: No Way Home," which debuted to a record-breaking $260 million last weekend.
The fourth "Matrix" movie, directed by Lana Wachowski, sees the return of Keanu Reeves and Carrie-Anne Moss as Neo and Trinity — though neither remembers the past. "The Matrix Resurrections," which debuted simultaneously on HBO Max, also stars Yahya Abdul-Mateen II, Priyanka Chopra, Jonathan Groff, Neil Patrick Harris and Jada Pinkett Smith.” />
On Monday, "No Way Home" raked in another $37 million, and early estimates for this weekend predicted the superhero movie would make another $100 million this weekend.
The latest entry in the Tom Holland-led trilogy will become the biggest movie of the year worldwide on Friday, Christmas Eve.
"The Matrix Resurrections," meanwhile, made $6.4 million on Wednesday and $4.1 million on Thursday from 3,552 venues in North America for a two-day total of $10.5 million. If it hits the higher end of estimates, "Resurrections" would beat "Dune" ($41 million) to become Warner Bros.' top opening of the year. Picking up 20 years after 2003's "The Matrix Revolutions," the sci-fi adventure is expected to finish the holiday weekend with $40 million to $50 million.
Directed by Garth Jennings, the "Sing" sequel stars Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Nick Kroll, Pharrell Williams, Taron Egerton and Bono as animated animals who perform hits like Billie Eilish's "Bad Guy" and Elton John's "Goodbye Yellow Brick Road." "Sing 2" and "The Matrix Resurrections," which both opened on Wednesday, are vying for the No. 2 spot.
"No Way Home" made $29.3 million domestically on Thursday, bringing its seven-day gross to $385.8 million — the third-highest seven-day gross of all time, the highest seven-day gross in the "Spider-Man" franchise, and the second-highest seven-day gross ever for December and for a superhero film.
"Spider-Man: No Way Home's" box office prowess knows no bounds.
It's set to cross the $1 billion mark on Christmas Day. At 11 days, it would be the second-fastest to hit that milestone (behind 2019's "Avengers: Endgame" at five days and tied with 2018's "Avengers: Infinity War"). It would also be the first theatrical release of the pandemic to join the billion-dollar club — even without China, the largest box office market in the world.
The family-friendly musical is on track to rack up at least $40 million by Sunday. Including ticket sales from Thanksgiving weekend advanced screenings, it's grossed $17.2 million so far. Another sequel, "Sing 2," earned $8.1 million on Wednesday and $7.5 million on Thursday at 3,892 North America locations for a total of $15.6 million.
Internationally, it brought in $32.2 million on Thursday, bumping its overseas total to $490.2 million and global haul to $876.0 million.

Pedro Almodóvar has written and directed 23 feature films since 1978; each one carries his unique style, yet he manages to keep surprising audiences. “Parallel Mothers” may be his best and most accessible; it features his frequent outrage at government oppression and deceit, mixed with great compassion for his characters.
Pedro Almodóvar personally has only been nominated for two Oscars, as writer and director of the 2002 “Talk to Her,” winning for original screenplay.
This is one of the films in which Pedro refers to families based on love, rather than on biology." “Parallel” also offers Cruz a terrific role. Almodóvar says of the new film, “Penélope Cruz gives a magisterial performance; it’s a master class in acting.” Says producer Almodóvar, “I think ‘Parallel Mothers’ gives an interesting perspective on maternity and family.
Almodóvar has had shockingly few Oscar nominations, but this film could wind up with bids for him, for best picture and for star Penélope Cruz.
“I play two roles. The other role is more technical: finding funds to make the film. I keep those two things very separate because I don’t want economic constraints to affect Pedro’s creative choices." One is to support Pedro during his creative process, specifically in doing research or information he needs for the film.
That’s stimulating to me as a producer and to Pedro as a writer-director. “We never really know. We’re always working with uncertainty and that’s always a challenge, entering new territory. We always ask that a script takes us into new places.”
The filmmaker’s brother, Agustin Almodóvar, has been his producer since the 1987 “Law of Desire.” That’s fitting, since families are at the center of many of the films, including this one — but they're not necessarily traditional families.
All this makes the film an amazing collaboration of artists.” Aside from the work of his brother and Cruz, Agustin notes, “Also, you have the soundtrack by Alberto Iglesias and the photography by José Luis Alcaine.
“I realized Almodóvar was more than a movie director; there was a social movement attached to the way he was expressing himself.” Banderas added the filmmaker was part of “a revolution that shook the foundation of Spanish cinema and Spanish morality.”
Spain, for whatever reasons, often fails to choose his films for submission. Of his previous 22 films, only three received Oscar nominations for foreign-language/international film: “Women on the Verge of a Nervous Breakdown” (1988), “All About My Mother” (which won, 1999) and “Pain and Glory” (2019).
Did they know during production that this film was special?
When “Pain and Glory” opened, star Antonio Banderas talked with Variety about the 1982 San Sebastian premiere of “Labyrinth of Passion,” saying the audience was passionate, pro and con, with vocal reactions to the film.
He adds, “Pedro likes to work with characters facing a moral dilemma.” In “Parallel Mothers,” Cruz’s character is dealing with two dilemmas: an atmosphere of secrecy and lies that go back to the Franco era, “and a private truth, which she’s incapable of confronting right away,” says Almodóvar.
Variety’s Owen Gleiberman reviewed “Parallel Mothers” at the Venice fest and proclaimed it his best since “All About My Mother.” He added, “‘It is as serious as any film Almodóvar has made but he hasn’t let go of his luminously light, beguiling puckish side … and Cruz acts the part with a mood-shifting immediacy that leaves you breathless.”” />
The producer says that with each new film, “I’m very lucky to be there from the beginning, when a script is just an idea.

There is a chronology to the development of a new character at Aardman. And we usually get in at least one animator: On this occasion, it was Rhodri Lovett, who came in and developed Ella. So we worked closely together to get the very specific look, and the very specific kind of actions and movements that we would need from her. We always try and do that with our lead characters to develop them.” Cox says: “We build into the schedule at the beginning some development time, some testing time.
So when it came to the shoot, everything was so tight … the storyboards, the animatic… And it should be a good film. “As we were going through the process, before we even start shooting actually, we knew that the story was in good shape. And having that at the very beginning of the shoot meant that the crew were on board, were excited, and wanted to work hard. we knew that all we needed to do was use the skills of the crew to fill in the gaps, do the animation. They wanted to do their very best.” We knew that we'd done a lot of prep work, and we'd got some good gags in there.
The tone of the special follows that of the series, created by Richard Starzak, who drew inspiration for the dialogue-free show from the comedy greats of the silent era, such as Laurel and Hardy, Harold Lloyd and Charlie Chaplin.
Cox adds: “And then for the mom, Jin, we thought Ben would probably need a bit of organizing in his life because he's probably swanned through life, just being charming, and everything falling in his lap. So his wife would be the brains of the operation and the organizer.”
Cox comments: “We decided the color palette downstairs in the house would be quite cold, quite muted. So cold, concrete hard surfaces downstairs, and upstairs you get her lovely, rich, cosy room, and all the corridors are all slightly warmer.” The ground floor of Ben’s house has a certain “austerity” to it, but upstairs is different. But then when you go upstairs you'll notice there's a slight warming because that's where Ella’s bedroom is and all the fun stuff happens.
Cox worked with Debbie Smith, the sculptor, and Claire Cohen, the puppet designer, to bring the character into the 3D world. Everyone else then gave their notes, followed by final tweaks, and then it was turned into a puppet for Lovett and Cox to start building the character. Once the character’s 2D design is finalized, then it is sculpted in clay.
And it worked pretty well.” “But we had to re-conceive all that virtually. Although they're just drawing, there's a lot of communication that goes on, as you're putting the film together as an animatic,” Beek says. “Normally those story-board artists would be in one place with the director.
“It works at a pace. I would say almost double the speed of any of the other features or style work that we do at Aardman,” he says.
Executive producers were Mark Burton, Sarah Cox and Carla Shelley. – had to be produced during the pandemic to a tight schedule and with a limited budget. The film – which airs on TV networks in 17 territories, including the BBC in the U.K., ABC in Australia, France TV and Germany's WDR, and streams on Netflix in the rest of the world, including the U.S.
So it was always quite a delicate balance of making the story work and making it have drama, but not making anyone bad or naughty. Ella couldn't be the villain of the piece. It was quite a challenge in scripting and boarding to get that to work,” Beek says. So we have people who are causing problems for Shaun, but the family couldn't be the bad guys. “We were very clear that the film didn't have villains.
I wanted Farmer Ben to have this traditional farmhouse that he's then just splurged this big extension onto the side, which is still done with class but it's the old meets the new.” Cox says: “I’m a big fan of [Channel 4 TV show] ‘Grand Designs.’ We're always watching that.
For the special, which they conceived of as a mini-movie, they decided to expand Ben’s world, giving him a family. Cox headed up the character design for Jin and Ella.
Cohen designed the armature of Ella’s puppet – its metal skeleton – as well as deciding how her hair and clothes were going to look, “making sure that everything that we put in speaks to the characters and the story, that's what guides those choice,” Beek says.
We held back very little. But we shared at treatment stage, script stage; every animatic was shared. He adds: “Sometimes it's not the nicest experience getting your homework marked every time you do anything.
Cox adds: “You have to love her. You have to really love her.”
“Big vistas, lots of huge sets, which are used for just the one shot as the sleigh was flying through.” “We knew it was going to be very difficult to do because there are a lot of shots in quick succession,” he says.
The endeavor began in 2018 when Burton and writer Giles Pilbrow began brainstorming ideas for "Shaun the Sheep” specials and came up with some treatments. In 2019, Beek – who had been involved previously – came back on board and was joined by Cox, and the four of them developed the project, which was greenlit in November 2019.
The film had to be delivered by the first week of September; it launched on Netflix on Dec. They shot for 21 weeks – starting in mid-January 2021, and wrapping in early June, with 15 animators employed, and a total crew of around 60, as well as those working on the post-production, the color grading, and the score. 3.” />
Then Steve made his amends to those 2D drawings.” Beek adds that on “Shaun” TV projects, due to the limited budgets in comparison to feature-length movies, time is of the essence. “We shared those with the Aardman team, the executive team, and also [Mark Burton], the executive producer. And they gave notes on those. “On ‘Shaun’ it’s so tricky because you have one bite of every cherry.” Cox did two passes on 2D design on Ella.
Cox explains how he developed the characters of Jin and Ella. “We were thinking: ‘What kind of family would Ben have, and what kind of character would we need as a foil for Shaun, because we wanted [Ella] not to be a proper villain, but to have proper motivations for getting in Shaun's way and cause all this trouble. So we thought of an only child who's probably been a bit spoiled and overlooked and all that kind of stuff.”
Ben and Jin’s house is distinctive, and Cox worked closely with the art department on the design, down to the smallest details, such as the type of curtains. “The art director, Andy Brown, was asking: ‘What kind of curtains do you want in here?’ and I said we need them to be ceiling to floor, and then I saw the Nissan Dukkha advert and said: ‘The curtains in that are the kind of plain but sophisticated looking curtains that we want.’ He looked that up, and before we knew it, they were on set.”
“It’s quite a furious process; it's not as considered as some of the other work we do. The development of the special took six months up to the start of the shoot, which is typical for “Shaun” projects. But that's part of its energy,” Beek says.
Tom Howe, the film’s composer, came on board very early, before the team had the first animatic ready. Cox says they were looking for the score to be "epic," "cinematic" and "Christmassy." It was recorded with an orchestra at London's Abbey Road studios in one day in July 2021, about four weeks after the end of shoot.
Because we were working to such a tight deadline, what we didn't want was a problem that we couldn't fix, or couldn't fix in a way that would please us.” “And we would do packages of all the shots as they were coming in off the floor.
When he storyboarded it with artist Andy James the sequence totaled 10 minutes … far too long; so it was a case of “whittling this thing down to get all those fun chase things in, and all the story beats we needed, into something very short. I think it was two minutes in the end.”
It's like Morecambe and Wise,” he says, referring to the cuddly British comedy double act from the last century. People don't seem to pick up on how dark [‘Wallace and Gromit’] is sometimes. It's silly. “ ‘Shaun’ always keeps way clear of the kind of darkness that [’Wallace and Gromit’ creator Nick Park] sort of revels in almost. the fact that the sheep have been made into dog food and things like that,” Beek says. This lightness in tone is in contrast to Aardman’s best-known show, “Wallace and Gromit,” which “actually has quite a dark edge to it… But ‘Shaun’ is bucolic.
Whereas Ben and Jin are “so neat and prim and proper,” Cox says, for Ella the look started with “a massive mop of hair.” He adds: “I thought: That's unruly hair. So it was based on real life kids. They explode with life, don't they?” It's kind of her personality. You can't neaten them up. Her mom is trying to straighten her hair the whole time.
It's something we are used to. They know exactly how to dress the farmhouse, what paints to use, all this sort of stuff. And the same with the art department. Cox, who directed season six of “Shaun the Sheep,” adds: “We can only achieve that because the crew are well versed in ‘Shaun.’ I directed them [in season six], so I'd worked with them closely. And that was really useful. If it was a brand new product, we wouldn’t be able to do it with that kind of speed.” So we've done it so many times in the past that we can hit the ground running. Everybody who animates Shaun knows exactly how to move him, how he works.
The team produced three versions of the film on storyboards over the rest of that year, and delivered a final version on Dec. “It was quite a full-on process,” Beek says, adding that there was nothing else to distract them because of the pandemic. “We all threw ourselves into it, heart and soul.” 20, 2020.
“He’s athletic, good looking, everyone likes him, and The Farmer hates this guy.” Ben had been brought into the series in a previous season of the show to provide a counterpoint to The Farmer, its leading human character, who lives at Mossy Bottom Farm with his faithful hound Bitzer, and the less faithful flock of sheep. Ben isn’t a traditional bad guy. “We wanted to find a nemesis for The Farmer. He’s perfect and that's what's irritating about him for The Farmer. Everything he does, he does it well, it does it brilliantly,” Beek says.

Ella’s personality was inspired by a real girl. In the original treatment, the Ella character was called Lucy and she was a little bit sweet, a little bit cutesy, and not that interesting. “A friend of mine has a little girl around that age and she's just a tearaway. So I just thought: This character needs to be a real force of nature; she needs that kind of energy.”
In Aardman's half-hour stop-motion comedy film "Shaun the Sheep: The Flight Before Christmas," Timmy the lamb finds himself whisked off on an adventure to the local town, hidden in a large parcel, and thence onward to the house of Ben the farmer, his wife Jin and their daughter Ella. The making of the animated show was also an adventure, producer Richard Beek and director Steve Cox tell Variety. Shaun and the flock must mount a daring rescue.
but Steve being the judge of what is right or wrong for the characters. So there was a lot of real examples of what the elements of the house could be. Beek adds: “We do a lot of mood boarding and stuff like that. And then Steve and Andy would really dig into the detail of those pieces, like which walls were just concrete, which had a kind of texturing to them… So, yeah, everything was considered.”
“When we did the first [season of ‘Shaun’], we made a choice that we wouldn't rehearse any of the shots. We would treat it more like a traditional children's TV show, where you just go straight to the shot you want,” he says.
Beek adds: “All the things that are economies about ‘Shaun’ are also part of what makes it ‘Shaun.’ I think if we were to overthink ‘Shaun,’ and to start rehearsing all the shots, maybe it would lose its spontaneity and energy.” It was stressful, but, Cox says: “It is great when it works. You're going 100 miles an hour, and then all of a sudden, you've got this great product, great shots are coming in, and everything looks fantastic.
They made “some quite fundamental changes, especially towards the end of the film,” Cox adds, and then continued to “tweak and adjust right through” to April 2020. “Steve, Mark, Giles and I really dug into the script for six months. We took it from quite a detailed treatment, but made quite a lot of changes in that period,” Beek says.
But Aardman also shared the work as it progressed with BBC and Netflix. German broadcaster WDR was Aardman’s main production partner on the special, having been on board with the “Shaun” series since the beginning, and contractually could deliver notes at every stage of production. “Our thinking was the more we shared it and heard what people thought the better,” Beek says. “We’d use that feedback to improve it.”
Our production partners were happy with it. And we're all ready to start [story] boarding … then COVID hit.” So we felt like we'd used that six months really, really well. People were happy with it internally. By then, Beek says, “everything was going great guns; we'd got the script into such a great place; really, really solid.
Meanwhile, Beek and the Aardman team made the studio in Bristol as COVID safe as they could, putting up screens between all the desks, and tidying up to create more space. There followed an eight-week shutdown at Aardman’s studio, but the storyboard and animatic teams quickly switched to working from home. When everyone came back into the studio in the summer a COVID testing regime was in place, with everyone testing twice a week.
Four or five story-board artists were engaged on the project to begin with, which was ramped up a bit later.
Beek adds: “In the series, The Farmer has a niece who screams when she doesn't get what she wants. She couldn't be a brat. She had to tick over in a way that you sympathized with for the end to pay off properly.” And we knew that Ella couldn't have that element.
It was “so exciting; with loads of gags; lots of fun stuff.” Out of all the sequences in the film, Cox singles out its ski chase as the one that gave him the most satisfaction.
This speed is driven by financial considerations, but despite this TV style approach to production, the aesthetic is cinematic, Beek says.

And then when I pitched him the film, he hit me right back and it was all go from there, you know? “Me and him, we just connected the first time we spoke. So, he was bought in.” “Jonathan's just an incredible actor, an incredible person,” Jordan said, explaining why he felt Majors would make the perfect sparring partner.
“He's full of quotes and advice and a lot of gems,” Jordan added about learning from the storied entertainer. In particular, Jordan keyed into the filmmaker’s preparation process, describing Washington’s rehearsals as “spot-on and intense.”
“A Journal for Jordan” is in theaters now.
The cast for “Creed III” is slowly coming together, as Jordan is expected to be reunited with Adonis Creed’s on-screen love, Bianca (Tessa Thompson) and mother (Phylicia Rashad), with “Lovecraft Country” and “The Harder They Fall” star Jonathan Majors joining the crew as the story’s mysterious antagonist.
Michael B. Jordan is preparing to make his directorial debut with “Creed III,” the latest chapter in Adonis Creed’s saga, which is set to hit theaters Thanksgiving 2022.
“I think we did three weeks before we started filming, which I think is incredible,” Jordan shared. “I've always done rehearsals before, but I think on [‘Creed’], I'm going to make sure I get enough rehearsals to really massage the scenes that I feel like are the biggest days for my cast, once we actually start production.”
But Jordan wisely skipped over speculation that Majors might be playing someone connected to Rocky Balboa's past (like the son of Clubber Lang from "Rocky III," for example), so fans will have to just have to wait and see how this sparring match shakes out.
When news broke that Jordan would take the helm of the franchise, in addition to starring as the boxing champ, the first-time feature filmmaker released a statement explaining why he wanted to take on the challenge.
Jordan added: “He has so many different talents, and things that he brings to the table. I'm extremely lucky. He was just perfect for the role, so it was a match made in heaven. We're very blessed to have him and I can't wait for everybody to see what we do.”
“‘Creed III’ is that moment — a time in my life where I’ve grown more sure of who I am, holding agency in my own story, maturing personally, growing professionally and learning from the Greats like Ryan Coogler, most recently Denzel Washington, and other top tier directors I respect. All of which sets the table for this moment.” “Directing has always been an aspiration, but the timing had to be right,” Jordan stated.
Majors also shared how his training regimen has affected him personally. “This is something my coach said: ‘People live the way they fight.' So you learn a lot about yourself when you’re training, and you can surprise yourself.”
Majors recently opened up to Variety about squaring off against Jordan and playing the antagonist, versus the leading man roles he’s landed lately.
“It’s just you and your fatigue, and when the body gives out, you can explore the spirit," he said. And through the intense boxing workouts, Majors tapped into something profound about his acting.
Jordan’s Donnie Creed is the son of the fallen boxing champion Apollo Creed (Carl Weathers), and “Creed II” featured a next generation rematch between Creed and Viktor Drago (Florian Munteanu) — son of Ivan Drago (Dolph Lundgren), the boxer who killed Apollo in that “Rocky IV” match. (Milo Ventimiglia). Plus, the film also re-introduced Rocky Balboa’s (Sylvester Stallone) estranged son Rocky Balboa Jr. The ”Creed” and “Rocky” franchises have traditionally dealt with family ties and stories of fathers and sons.
Jordan worked with Washington on the true-life romantic drama “A Journal for Jordan,” which is now in theaters, where he picked up a few tips from the two-time Oscar winner and four-time director.
The lingering question is, who exactly is this “antagonist” that Majors is playing?
Washington recounted his conversations about directing with Jordan, saying that his first piece of honest advice was to “prepare, prepare, prepare.”
“But [Michael’s] motivated and he's very, very bright, so I'm sure he will do well.” (To note: Washington also directed himself in his first three efforts, “Antwone Fisher,” “The Great Debaters” and “Fences”). “It's much harder than you think because he's acting and directing,” Washington told Variety.
“What is happening, how it manifests may seem like there’s malice in it. “In my opinion, there’s no difference, but there is,” he explained. Sometimes I feel like with the villains or the antagonist, there’s more hurt, so it almost seems impractical or it seems extreme what it is they’re trying to do.”

"The Center Will Not Hold" included archival footage and conversations between Dunne and Didion.
"Yesterday morning her enormous readership also began their goodbyes to Joan Didion, one of the greatest writers of our time. "Yesterday morning I said goodbye to my Aunt Joan for the last time," Dunne, the son of Didion's brother-in-law, author Dominick Dunne, said in a statement on Friday.
Actor and filmmaker Griffin Dunne paid tribute to his aunt, acclaimed author Joan Didion, who died on Thursday at 87.
Also an essayist and screenwriter, Didion rose to prominence in the 1960s as a leader in the New Journalism movement, and managed to keep generations of readers captivated with her distinctive voice and acute observations, especially of California life. The death of the iconic writer left the literary world and Didion's legion of fans reeling on Thursday.
Essay collections "Slouching Towards Bethlehem" (1968) and "The White Album" (1979); plus novels "Play It as It Lays" (1970), which she adapted for a 1972 film; "A Book of Common Prayer" (1977); "Democracy" (1984), and "The Last Thing He Wanted" (1996), adapted into a 2020 film by Dee Rees, cemented her legacy as one of the 20th century's most masterful writers.” />
Now I find myself in grief, which I share with so many others who are also mourning this great loss." She wrote about grief to find out what she felt, but ended up giving hope and meaning to those who needed it most. "Her voice was that of a writer who saw things as they were before most of us.
Dunne said Didion, who was the subject of his haunting 2017 Netflix documentary "Joan Didion: The Center Will Not Hold," "wrote about grief to find out what she felt, but ended up giving hope and meaning to those who needed it most."
These qualities are ones I admire and have tried to learn from all my life. "In 1961, as a young contributor at Vogue, Joan once wrote, 'People with self-respect exhibit a certain toughness, a kind of moral nerve; they display what was once called character.' As her nephew, I was fortunate enough to witness firsthand Joan’s character, her self-respect, her certain toughness.

One of the most anticipated of series from Latin America in 2022, Lucía Puenzo’s “Señorita 89” will premiere in the U.S. 27, bowing on Spanish-language streaming service Pantaya which has also dropped official teaser key art and a first-look teaser trailer. on Feb.
There’s also the suggestion of a fairy tale in the cosy establishing shot of the house in the big woods and the positioning of Concepción as a step-mother to her wards; and echoes of film styles and classic works – ‘50s American melodrama, Concepción’s husband as a Doctor Frankenstein, Dante’s “Inferno” – which Puenzo is so good at picking up and reworking to instructive effect.
As the teaser trailer shows, the drama thriller is set in a seeming paradise, La Encantada estate in wooded Mexican hills where 32 beauty queens arrive for three-months of grooming before competing for become Miss Mexico.
The paradise soon becomes a living hell. Some of this hell’s circles are teased in this first look, as well as its disruptive and often very human passions – carnal, romantic, narcotic – and a plush high style which forefronts, however, restrictive framing, whether gateways, passages and corridors.
Just how all of this rich material will play out remains to be seen. The full season of eight episodes will be available for binging on April 10. Fremantle handles global distribution.” /> Pantaya will premiere “Señorita 89’s” first two episodes on Feb. Starzplay will distribute the series in Spain and Latin America. 27 in the U.S. and Puerto Rico, followed by a weekly episode every Sunday.
The teaser hints at a character of large contradictions. Also introduced, however briefly, is a top notch Mexican-Chilean cast playing what looks like the series’ main characters: Miss Guerrero (Bárbara López, "Amar a Muerte"), with a perfect body and self-destructive bent; Miss Chihuahua (Leidi Gutiérrez, "Chicuarotes") who grew up working in a sweat shop; Elena (Ximena Romo, "This Is Not Berlin"), a brilliant post-grad student brought in to teach the girls culture; and above all, Concepción, embodied by Ilse Salas ("Güeros," "Plaza Catedral"), one of the finest Mexican actors of her generation who is co-director of La Encantada.
“La Jauría” drilled down on multiple forms of sexual abuse, powered by a thriller format. “Señorita 89’ look as if it might do the same but in a far different context, exposing the unseen and unseemly reality behind the glamor of a 1989 Miss Mexico beauty pageant.
Produced by Academy Award winners Pablo and Juan de Dios Larraín and Fabula, Pantaya, Starzplay and Fremantle, “Señorita 89” is showrun by Puenzo who is rapidly emerging as one of the Latin America’s foremost film and TV writer-directors after “La Jauría,” first fruit of a first-look deal between Fabula and Fremantle.

Ultimately, Adams and Jordan earned a glowing review from Canedy, who was impressed by the way the actors disappeared into their roles.
“It was more of in the moment, like, how are we shooting this shot? … And, we went for it.” “I don't think it was written like that, so I don't think I read anything that was like, "Oh yeah, Charles walks in and his butt [flashes] across the screen,” Jordan explained.
"I just wanted to honor that and I wanted to honor her.” “I was very nervous; I mean, anxiety through the roof, just because I knew how much weight this project held and that it meant so much more to her," Adams said, recalling that first meeting. So, the actor reached out to Canedy a couple weeks after getting the role.
is this big star and Chanté brought it.” From a filmmaker’s perspective, casting the right actors was key to creating those sparks. “The most important thing for me was finding this young woman who was the right — not just match — but just equal in power, strength and ability with Mike,” Washington explained. “Because Michael B.
Bottom line — “A Journal for Jordan” is a tribute to King and Canedy’s once-in-a-lifetime love story, and as such, Jordan and Adams worked hard to get their chemistry just right. Washington first assembled the pair of actors for rehearsals about a month before the film began production, which Adams says was particularly helpful.
Reflecting on her takeaways from seeing her story played out on the big screen, Canedy is hopeful that audiences will be moved by the movie too.
“We knew the movie that we were making,” the actor concluded. “And we wanted something that would give people what they want, so that's what we went for.”
“Denzel was very adamant about making sure I knew that this was not a biopic about her life; this was a biopic about the love that her and her fiancé shared,” Adams said.
Speaking of that butt-baring scene, Washington noted that the framing of the shot was cinematographer Maryse Alberti’s idea.
“That's something beautiful and awesome, so to be able to have a hand in telling that story, it's something that's special.” “They were real people that went through obstacles … they weren't each other's ideal person when they first met, but they grew to be each other's soulmate,” Jordan said, explaining what attracted him to this story.
Charles Monroe King (Jordan) and his love, journalist-turned-publisher Dana Canedy (Chanté Adams). There are a number of intimate and heartfelt moments in the Columbia Pictures romantic drama directed by Denzel Washington, which tells the true story of the late 1st Sgt. But in one particular love scene, the camera captures Jordan in the buff, with the frame just wide enough to show the actor’s butt.
It’s a brief (or lack thereof) moment, but if a woman’s ear-piercing scream in this reporter’s screening of the movie is any indication, there’s no way audiences will miss it.
Maybe she sees something another male DP wouldn't necessarily look at — like shooting a particular part of Michael B. What does a woman see? “In the case of this story, it was deliberate," Washington told Variety's Clayton Davis about tapping Alberti to lens this movie. I wanted to see the movie through her eyes. Jordan's body that I may not have decided to shoot." "I wanted a woman's perspective.
When Variety asked the award-winning actor what reaction he expected when he first learned of the scene, Jordan chuckled as he searched for the appropriate words.
“We rehearsed probably for like four to five hours a day,” Adams recalled. “Going over the scenes, breaking down the script, just talking about Dana and Charles, creating our own backstories for them for the answers that we didn't get from the book or from Dana. I think that is what helped us build such amazing chemistry.”
Though both Adams and Jordan have played real people before — Adams burst onto the scene with the Sundance-award “Roxanne Roxanne,” in which she portrayed hip-hop legend Roxanne Shanté, while Jordan has starred in true-life tales like “Fruitvale Station” and “Just Mercy” — Adams admits that playing Canedy was “nerve-wracking.”
“But I also hope, in general, that what folks come away from this movie with is an uplifting story about love.” “As it relates to military service, I'm hoping that folks will understand at even more of a visceral level what that sacrifice is like,” she said.
Jordan is aware of the fact that audiences will leave “A Journal for Jordan” talking about his booty. Michael B.
“I was sort of amazed by that,” Canedy gushed. “I thought that obviously audiences would get caught up in the character and see us, but I saw us and that's a testament to their talent.”
“A Journal for Jordan” debuts in theaters on Dec. 25.” />
In 2008, Canedy, a Pulitzer Prize-winning journalist (formerly of the New York Times) and now senior vice president and publisher of Simon & Schuster, published “A Journal for Jordan,” the memoir about her life with her war-hero partner and the journal that he wrote for their son as a guide to life and love before he was killed in action in Iraq. The emotional book went on to become a New York Times bestseller and served as the ultimate guide for Washington’s film adaptation, with a screenplay from Virgil Williams. Telling a true story such as this one is a weighty feat.