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.


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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

https://www.youtube.com/watch?v=u34gHaRiBIU” />
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.