audience

All unhappy families of addicts are unhappy in their own way. Unless, of course, you’re a stage family, overrun with “characters” who don’t so much speak as deliver laugh lines and dispense nuggets of moral wisdom. Those families tend to be all alike, regardless of the superficial differences among them.

Grandparents play a larger role than usual in Jake Brasch’s “The Reservoir,” which opened Thursday at the Geffen Playhouse under the direction of Shelley Butler. But the theater’s ability to turn family dysfunction, be it alcoholism, Alzheimer’s or just garden-variety existential agony, into entertainment and instant illumination, has long been a staple of the American stage.

My tolerance for the artificiality of the genre may be lower than most theatergoers. Some take comfort in hoary comic patterns, souped-up eccentricity and reassuring pieties. Overexposed to this species of drama, I slump in my seat.

Indeed, my patience was as thin for “The Reservoir” as it was for “Cult of Love,” Leslye Headland’s drama about a family breakdown during the holidays that made it to Broadway last season after its 2018 premiere at L.A.’s IAMA Theatre. Neither play is beyond pandering to its audience for an easy laugh.

Serving as protagonist and narrator, Josh (Jake Horowitz), the queer Jewish theater student on medical leave from NYU who wakes up one morning after an alcoholic bender at a reservoir in his hometown of Denver, exhibits the snappy, manic banter of a drunk not able to face up to his problem. Patricia (Marin Hinkle), his long-suffering mother, has had it with Josh’s relapses, but how can she turn away her son who lies bleeding on her couch?

With his mother’s help, Josh gets a job as a clerk at a bookstore as he tries once again to pull his life together. Fortunately, Hugo (Adrián González), his manager, is quick to overlook his lax performance. Apparently, drinking has so scrambled Josh’s brain that alphabetizing books takes every ounce of his strength.

Marin Hinkle, left, Lee Wilkof, Jake Horowitz, Geoffrey Wade and Liz Larsen in “The Reservoir.”

(Jeff Lorch)

I didn’t quite feel as indulgent toward Josh, but not because I didn’t sympathize with his struggles. My beef was that he sounded like an anxious playwright determined to string an audience along without forced exuberance and sitcom-level repartee. (Compare, say, one of Josh’s rants with those of a character in a Terrence McNally, Richard Greenberg or Jon Robin Baitz comedy, and the drop off in verbal acuity and original wit will become crystal clear.)

What gives “The Reservoir” a claim to uniqueness is the way Josh’s four grandparents are conscripted not just into the story but into the staging. Seated in a row onstage, they serve as chorus to their grandson’s travails, chiming in with their own opinions and acting out his description of the way his thoughts compulsively take over his mind, like an unstoppable train or a raging river.

Each also has an individual role to play in Josh’s recovery. Patricia’s mother, Irene (Carolyn Mignini), for example, has been transformed by dementia since Josh has seen her last. She’s always been his favorite grandparent. He fondly recalls baking cookies, playing Uno and singing along to “The Sound of Music” with her. Even when she pulled away after he came out in high school, his affection has remained steadfast.

He would like to connect with her again and fears he has lost his chance. At the bookstore, he reads up on Alzheimer’s disease and hatches a plan to build up the cognitive reserve of all his grandparents by feeding them spinach and keeping them mentally engaged. He’s trying, in effect, to save himself by saving them, but they’re too feisty to be corralled by their unstable grandson.

Irene’s fiercely protective husband, Hank (Geoffrey Wade), an arch religious conservative, is too grumpy. As for Josh’s paternal Jewish grandparents, Shrimpy (Lee Wilkof) is too much of a practical joker with sex on his mind. And Beverly (Liz Larsen), an electrical engineer who doesn’t mince words, is too gimlet-eyed not to see that Josh is focusing on his grandparents to avoid doing the hard work of recovery.

Having been sober for many decades herself, Bev recognizes the narcissism of addiction, the way addicts have a tendency to put themselves at the center of the universe. She offers Josh the tough love that he needs, forcing him to see that a grandparent isn’t just a grandparent but a human being with a complicated history that needn’t be worn like a Kleenex visible from under a sleeve.

Josh sets out to be a savior but ends up getting an education in the reality of other people. Brasch’s intentions are noble, but “The Reservoir” doesn’t plunge all that deep. The play draws out the distinctiveness of the grandparents by ratcheting up their zingy eccentricities. How easily these characters fall into a punch-line rhythm. Larsen has the most consequential role and she imparts just the right note of astringency. But the staginess of the writing makes it difficult for any of the actors to transcend the shtick that’s been assigned to them.

Hinkle brings a depth of realism to her portrayal of Patricia, but the character isn’t fully developed. Whole dimensions of Patricia’s life are veiled to us. Both Hinkle and Gonazález gamely play other characters, but these sketched presences compound the general impression of a comic world drawn without much nuance.

The staging is frolicsome but visually monotonous — a problem for a play that is much longer than it needs to be. More than two hours of looking at the fey-preppy outfit costume designer Sara Ryung Clement prepared for Horowitz’s Josh becomes a kind of fashion purgatory for audience and protagonist alike.

I’m not sure why a production that doesn’t take a literal approach to settings has to repeatedly trot out the front seat of a car. The spry assistance of stagehands, who not only move set pieces but help flesh out the world of the play, is a jaunty touch. But the sound and lighting effects get rather heavy-handed during Josh’s hallucinatory meltdowns. Blame for the inexcusably clunky dream scenes, a writing fail, can’t be pinned on the designers.

Horowitz had the Geffen Playhouse’s opening-night audience in the palm of his hand, but I heard an actor playing his comic lines more than his character. Horowitz, however, is only following the direction of a playwright, who has a harrowing story to tell and needs you to enjoy every tricked-up minute of the zany-schmaltzy telling.

For decades, Pixar could hardly miss with its original animated films.

Whether the subject was toys, fish or a cantankerous old man, the Emeryville-based computer animation studio churned out hit after hit.

But since the COVID-19 pandemic, Pixar and other animation studios have struggled to break through at the box office with the same kinds of original movies that defined the industry. Instead, sequels such as “Inside Out 2” have ruled the genre.

This weekend, Walt Disney Co.-owned Pixar will face its latest test with the release of “Elio,” an original film about a young boy who seeks connection with aliens to make up for his loneliness on Earth.

The movie is tracking to bring in $18 million to $25 million in ticket sales from the U.S. and Canada during its opening weekend, according to box office analysis. (The film’s reported budget is in the range of $150 million to $200 million.)

That would be considered a soft debut by Pixar standards, indicating the dilemma the animation business — and the movie industry writ large — faces with original content. While audiences often say they want to see new stories, box office ticket sales show they gravitate toward sequels, reboots and other familiar fare.

“You need to be launching new franchises to keep the pipeline fresh,” said Doug Creutz, senior media and entertainment analyst at TD Cowen. “Since the pandemic ended, original animated films have just been getting killed at the box office … no matter how good they are.”

Pixar executives, nonetheless, say they’re committed to telling original stories, which are key to the future health of the industry.

“You wouldn’t have Pixar without ‘Toy Story,’ our first original film 30 years ago!” Pixar Chief Creative Officer Pete Docter wrote in an emailed statement. “And while we also love digging into new layers of familiar worlds and characters through our sequels, I’d say there’s a unique thrill in unearthing a new story.”

Disney and Pixar’s previous original movie “Elemental” made just $29.6 million in its opening weekend in 2023, causing many in the industry to write it off as a flop, before strong word-of-mouth reviews propelled the film to a solid worldwide gross of $496 million.

Sister studio Walt Disney Animation Studios has also recently struggled with originals, including 2022’s “Strange World” and 2023’s “Wish.”

The pandemic had a major effect on theatrical attendance for animated films. At the onset, studios including Pixar put their new animated movies on streaming services to give families something to watch during the COVID-19 stay-at-home orders and keep people from spreading the disease.

Movies such as 2020’s “Soul,” 2021’s “Luca” and 2022’s “Turning Red” were all sent straight to the Disney+ streaming service. Despite critical acclaim — winning an Academy Award for animated feature — “Soul” grossed just $121.9 million in worldwide theatrical revenue.

Even when movie theaters started reopening, families were slow to return due to health concerns and familiarity with watching movies at home, which dented animated films’ box office potential. Pixar’s 2022 “Toy Story” spinoff “Lightyear” did poorly at the box office partially due to this timing, as well as quality issues, marketing challenges and right-wing backlash to an on-screen kiss between a same-sex couple.

Other studios, too, face challenges with originals.

Universal Pictures’ 2023 original animated movie “Migration” also saw a soft box office total. The same year, Universal grossed more than $1 billion from “The Super Mario Bros. Movie,” based on the Nintendo game franchise.

Last year, Universal’s “The Wild Robot,” which is adapted from a 2016 children’s book, debuted to strong reviews, but grossed $333 million in box office revenue, compared with the $492 million reaped by Paramount Pictures’ “Sonic the Hedgehog 3.”

Now family films are ruling the box office.

So far this summer, many of the films that have propelled the box office are family-friendly — Warner Bros. Pictures’ “A Minecraft Movie,” and live-action remakes “Lilo & Stitch” from Disney and “How to Train Your Dragon” from Universal.

Last year, Pixar’s “Inside Out 2” hauled in nearly $1.7 billion in global box office revenue last year, while Universal and Illumination Entertainment’s “Despicable Me 4” grossed $969.6 million worldwide and Disney’s “Moana 2” made $1 billion.

The common denominator among these films? They’re all sequels, reboots or rely on known intellectual property.

But industry insiders and analysts say that simply focusing on new chapters of existing stories risks making the animation space stale.

“If you’re trying to grow the business, you need new content, you need new franchises, you need new things for people to be excited about,” said Creutz of TD Cowen.

But beyond the box office, Pixar original films can get exposure — and drive business — through other parts of the Disney empire. Movies eventually debut on Disney+ and characters will show up on merchandise or in the theme parks, which can expand a film’s reach.

“Pixar is in the long-term business,” said David A. Gross, who writes a movie industry newsletter. “They want to create stories that last, and if that works in bringing back a sequel, great, but there is enormous value for streaming for these pictures, whatever they do in theatrical. There are a lot of revenue streams.”

Pixar intends to release three movies every two years, and the company’s strategy is to make one original for every sequel, company sources said. For instance, “Elio” was intended for release in 2024, but was delayed by the dual writers’ and actors’ strikes of 2023. Instead, it swapped with “Inside Out 2” since sequels can be easier to move through the production process due to existing assets.

“Pixar was really instrumental in defining the look and the feel and the tone of computer-animated films,” said Christopher Holliday, a senior lecturer in liberal arts and visual cultures education at King’s College London, who wrote a book about computer-animated films.

The company “is now at one of those crossroads where they are trying to balance films that have an audience built into them,” Holliday said. “And then they’re also balancing their identity as a studio of innovation that is pushing the boundaries and the limits of computer animation.”

Next year, Pixar plans to release “Toy Story 5” as well as an original film called “Hoppers” about a new technology that allows humans and animals to communicate. In 2027, Pixar said it will debut “Gatto,” an original movie about a cat with multiple lives.

“We think audiences love originals too,” Docter said. “Sure, it might be a bit harder nowadays to break through all the noise out there, but if we do our jobs, and create something that people will love, we trust that audiences will show up.”

Beloved Los Angeles comedian Ken Flores died earlier this year, but not before giving audiences one final hearty laugh.

On June 6, Hulu released two episodes of Hartbeat’s stand-up series, “LOL Live,” featuring sets by Flores and Daphnique Springs. This is the first and last special ever taped by the budding comedian, who died in the midst of his headlining “Butterfly Effect” tour at age 28, following a history of congestive heart failure.

“Ken Flores was exactly the kind of authentic comedic voice we sought to champion through our ‘LOL Live’ series,” said Jeff Clanagan, president and chief distribution officer of Hartbeat, Kevin Hart’s entertainment company, which produced the program. “[The special] captured his unique ability to connect with audiences through genuine storytelling.”

Born in Chicago and raised in Aurora, Ill., Flores was intrinsically comical, deeply convinced that he was funnier than any of the booked comics he witnessed on stage.

“These people suck!” he told the Comedy Gazelle blog in 2023.

Flores honed his comic chops at popular Chicago-area comedy clubs, including the Laugh Factory and Zanies, and rose to greater popularity on social media platforms like TikTok and Instagram, where he shared snippets of his sets— often filled with his impeccable crowd work and self-deprecating humor. The comic often made his lifestyle the punchline, mainly taking aim at his own weight and Mexican identity.

Gabriel Iglesias took notice of the rising star, tapping him to open for his 2023 “Don’t Worry Be Fluffy Tour” in Chicago.

“It was a highlight to have his family. His mom, dad and friends were there with him — and 15,000 people that night,” said Iglesias, who remembers Flores as “kind” and “respectful.” The young act also went on tour with established comedians Jo Koy and Felipe Esparza.

But it was after his move to Los Angeles in 2023 that Flores seemed to take flight, building a community across various comedy clubs including Hollywood‘s Laugh Factory, the Comedy Store, the HaHa and the Hollywood Improv.

“People did like him and that’s very telling,” said Iglesias.

Among those who loved and continue to mourn Flores are Rene Vaca and Ralph Barbosa — prominent Latino acts in the comedy world — who considered the late comedian a “brother.”

“The most memorable thing about him was how real he was,” said Barbosa. “[Ken] never kissed anybody’s ass, which made me respect him more, because that means everything that he got was through talent and hard work.”

Two distinct memories linger for the duo. The first took place at a restaurant in L.A., which marked the first time they all got together.

“It was one of those Chinese restaurants with those spinning tables,” said Vaca. “Ken was always trying to reach for the orange chicken, but every time he reached for it, [the table] kept spinning away from him.”

Then there’s their last reunion in L.A. when all three comedians got on stage to perform during Barbosa’s set at the Hollywood Improv on Jan. 21, just a week before Flores’ death.

“We had some drinks in us, we had the piano, we were improvising songs …  Rene fell on the ground trying to pants Ken,” said Barbosa. “It’s hard not to get teary eyed when I think about that day.”

“It was as if the universe gave us our opportunity to have that moment with Ken before he left us, you know?” said Vaca.

Vaca has already watched the Hulu special, marveling at Flores’ ability to land the jokes perfectly. “Like butter, man — it was beautiful,” he said. Barbosa, on the other hand, has only seen snippets. Choking up, he admits, “ I just don’t want it to be over, you know?”

The three had plans for a national tour this year, which Vaca and Barbosa continued in honor of their friend. They adopted his tour name, “The Butterfly Effect,” splitting the profit three ways to include Flores’ family. “None of us would do it unless it was like we split this evenly,” said Barbosa.

During every show, the pair play an unreleased 15-minute segment of Flores, who jokes about the fluttering impact of such majestic creatures. “He’s still killing it in the audience,” said Vaca.

When you watch “The Matrix” at Cosm, you’re essentially seeing a film within a film. A shot inside an apartment becomes a glimpse into an entire complex. A fight scene on a rooftop is now one small part of a giant cityscape. Look to the left, and a once off-screen helicopter is suddenly entirely visible.

Cosm has won attention and a fan base for its focus on sports programming. A domed, 87-foot-diameter wraparound screen surrounds audiences at the Inglewood venue, creating an illusion of in-the-flesh presence. Can’t make it to that NBA Finals or World Series game? Cosm wants to be your fallback plan, combining front-row-like seats with unexpected views.

And now, Cosm aims to redefine the moviegoing experience. A revival of “The Matrix” opens Thursday in what the company calls “shared reality,” a marketing term that ultimately means newly created CGI animation towers, over, under and around the original 1999 film. Cosm has in the past shown largely short-form original programming, and “The Matrix” marks its first foray into feature-length films.

Carrie-Anne Moss and Keanu Reeves in “The Matrix,” which is opening at Cosm with newly created CGI that surrounds the original frame.

(Cosm )

The hope is to not only see the film with fresh eyes but to create a sensation of being in the same environment as Keanu Reeves’ Neo, Carrie-Anne Moss’ Trinity and Laurence Fishburne’s Morpheus. “The Matrix” is an ideal film for this experiment, its anti-AI message decidedly topical while its themes grapple with dual visions of reality.

There’s been a host of so-called immersive ambitions to alter the moviegoing experience over the decades, be it the on-and-off flirtation with interactive cinema, a brief trend in the ’90s that recently lived again on Netflix (see “Black Mirror: Bandersnatch”), to more recent 4-DX theaters with movement-enabled seats (see the light, water and wind effects of “Twisters”). Cosm, like the bigger, more live music-focused Sphere in Las Vegas, seems to have a different pitch: an all-encompassing screen that can provide previously unexplored vantage points, even at times creating a theme park ride-like sense of movement.

Cosm’s interpretation of “The Matrix,” a collaboration with experiential creative agency Little Cinema, envelopes audiences from its opening action sequence when a nighttime view of a city skyline seemingly places us on a rooftop. Elsewhere, Neo’s office building becomes a maze of cubicles. The film’s centerpiece red pill versus blue pill moment centers the frame among oversized, glowing capsules. When Neo awakens, we are lost amid mountainous, industrial pods.

The challenge: To not make it feel like a gimmick, yet to also know when to pull back and let the film stand for itself. “The No. 1 core principle was to enhance and don’t overshadow,” says Jay Rinsky, founder of Little Cinema. “Metaphorically for us, the movie itself is the lead singer and we are the backing band. Let the movie be the star. Let it sing. And basically follow the key beats — follow the sound design, the emotional moments and enhance the action.”

The red versus blue pill scene in “The Matrix” is framed with newly created animation.

(Cosm)

The accompanying images get more aggressive as the film races toward its climax. The animations are most effective when they’re expanding the screen rather than echoing the action — showing us the viewpoint of a careening helicopter for instance, rather than repeating or mimicking a beat of the film. Having seen “The Matrix” before, I know the story and its cadence, and was perhaps more willing to turn my attention away from the film, which is placed in the center of the screen and often set within a picture frame.

In turn, I was dazzled by the scenes shot inside Morpheus’ hovercraft the Nebuchadnezzar, in which the vessel’s surroundings — its buzzing, electrical core and its assortment of monitors — are fleshed out around the screen. Film purists, I wonder, may balk at seeing images beyond the director’s vision — Rinsky says he hasn’t been in touch with directors Lana or Lilly Wachowski — but I found it could help build a world, especially for revival cinema on a second or third viewing.

A scene of “The Matrix” starring Carrie-Anne Moss is surrounded with an all-surrounding view of a skyline.

(Cosm)

Expectedly, the film’s final act becomes a bevy of secondary action. Bullets that fly off the frame of the film now find a landing spot, as building walls shatter and crumble around us. Cosm’s screen is crisp and encompassing enough that it can mimic movement or flight, and thankfully this is used sparingly, twisting only when the film’s characters take to the skies.

When Cosm opened last summer Chief Executive Jeb Terry stressed the venue wasn’t in the business of showing films, wanting to focus on sports or original programming. “We’re not a first-run theater,” said Terry. “We’re leaning into the experiential side.” Seemingly, “The Matrix” fits this plan, as the accompanying CGI images have been in the works since about August 2024, says Rinsky, with the bulk of the heavy lifting beginning in January.

Rinsky acknowledges “The Matrix” fits the format particularly well because it “plays in a realm of fantasy that allows you to change environments around,” but is quick to add that Cosm and Little Cinema hope to expand the program of enhancing Hollywood products. “It is a bit of a mission and a philosophy,” he says. “Every film in every genre has its own unique propositions and can be adopted and suited well. We’re excited about horror, and we’re excited about comedy.” Future projects have not yet been announced.

Cosm also has a venue in Dallas, with spots in Atlanta and Detroit on the way. Rinsky’s hope, of course, is that Cosm someday has enough market penetration that filmmakers can create the format from the ground up.

“I’m really bullish about this being the new cinema,” Rinsky says. “I think in five to 10 years, there will be 100 of these around. Once it hits scale, then big studios will have releases created specifically for this format.”

It’s an optimistic view of the future that’s arriving at a time of disruption in Hollywood, from shake-ups due to the streaming market to artificial intelligence. For Cosm, it’s the early days, but it’s a vision that needs neither a red nor blue pill. Its outlook is much more rose-colored.

Vanessa Agabo-Davalos has spent hours watching the dystopian drama “Squid Game” on Netflix. But nothing could prepare the 21-year-old college student for seeing one of the show’s actors walk the red carpet a few feet in front of her.

She found herself starstruck in the presence of Kang Ae-sim, who portrays Geum-ja (Player 149) on the South Korean thriller. All the more so when they snapped a photo together.

“You forget everything. You forget how to talk — it’s just like ‘Wow, I saw you on TV,’” said Agabo-Davalos, who traveled an hour from the Inland Empire and can’t wait to see the final season this month. “I feel like it’s a dream come true for the ones that really enjoyed these shows.”

She was among the more than 9,500 Netflix fans who gathered Saturday at the Kia Forum in Inglewood for Netflix‘s Tudum live event, an hours-long extravaganza meant to hype up audiences for upcoming series, movies and returning franchises.

People traveled from all over the world to celebrate their love for shows including “Squid Game,” Addams Family series “Wednesday” and sci-fi show “Stranger Things.”

During Netflix’s variety-show like program onstage at the famed venue, the company showed off how its computer animated version of Tony Tony Chopper, a toddler-sized reindeer-boy character in the live action pirate series “One Piece,” would appear in the upcoming season.

Oscar-winning director Guillermo del Toro unveiled a new teaser trailer for his November Netflix movie, “Frankenstein,” starring Oscar Isaac and Mia Goth, who both appeared onstage with the filmmaker. Fans also saw the first six minutes of the first episode of Season 2 of “Wednesday,” which will be released in August.

The event, named after the sound that plays before a Netflix program begins (“tuh-dum”), was part of Netflix’s ongoing effort to harness the enthusiasm its viewers have for its most popular programs and inspire them to keep streaming.

“It is about celebrating fans and giving something back to them,” Netflix’s Chief Marketing Officer Marian Lee told The Times after the event. “Of course it is also about promoting … we have a huge slate coming up.”

Netflix hosted the first Tudum event in 2020 in São Paulo, which came from the company’s Brazil team, which had an idea for an event that rewarded the streamer’s fans of young adult shows. That later led to Tudum evolving into different formats including festivals and livestreams, events that were more like a fan convention.

In 2023, Netflix held Tudum again in São Paulo, drawing more than 35,000 attendees and more than 78 million views through Netflix’s social channels.

But Saturday’s festivities in Inglewood took Netflix brand promotion to a new level.

It was the first time Tudum was livestreamed directly on Netflix, rather than on YouTube or social media outlets. The event played like a roughly two-hour live variety show, featuring “ask me anything” segments, as well as performances from music artists including Lady Gaga, who appears in the next season of “Wednesday.”

Xavier Woods, left, and Kofi Kingston attend Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.

(Emma McIntyre/Getty Images for Netflix)

There was plenty of cross promotion of Netflix content during the show, as WWE wrestlers talked about why people should tune into their weekly live show on the platform, while also speaking about their love for “One Piece,” based on manga.

Tudum host Sofia Carson touted her upcoming Netflix movie, “My Oxford Year,” which also stars Corey Mylchreest, known for portraying King George III in Georgian era romance series “Queen Charlotte” from the “Bridgerton” universe. Sesame Street‘s Cookie Monster also made an appearance with actors Ben Affleck and Matt Damon, who star in the new Netflix movie “The RIP.”

“I don’t think another studio can pull this off in the way that we did,” Lee said. “Fandoms can be unique and distinct. They’re putting all those fans in a room together, WWE fans next to [mystery movie] ‘Knives Out’ fans next to Lady Gaga fans for ‘Wednesday.’ That’s an incredible achievement. That is something only Netflix can do.”

To some people, Tudum is a page borrowed from Walt Disney Co., which hosts the biennial D23 fan convention in Anaheim, pulling together disparate fandoms (Disney princesses, Marvel, Pixar, Star Wars) to converge in the same place. It raises the question: Does Netflix, a streaming service that produces shows from just about every genre for just about every kind of audience, have fans in the same way that Disney does?

Over the years, Netflix has expanded its live events and in-person experiences to keep viewers engaged. Those have included “Bridgerton” balls, Netflix-themed eateries and retail stores selling merch based on “Stranger Things” and other shows.

Lee declined to say how much Netflix spent on the event. Some fans bought tickets, ranging from $25 to $75, while others said they scored free tickets. Netflix said tickets sold out in about a week.

Netflix doesn’t have iconic animated characters like Mickey Mouse or storied franchises like “Star Wars” or Marvel. But Netflix’s strategy is to have something for everyone, and because of that, people are reluctant to quit it, industry observers say, even as economic anxieties run rampant.

“That is the competitive advantage of Netflix,” said Larry Vincent, a marketing professor at USC Marshall School of Business. “It really has become the big tent of streaming. They’ve invested pretty significantly to develop a stockpile of content.”

The streamer said last year it had more than 301 million subscribers globally. On Saturday, the attendees reflected that expansive audience.

Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.

(Adam Rose/Netflix)

Fans dressed up as their favorite characters from Netflix shows. People wore black dresses similar to Wednesday’s attire, straw hats in support of “One Piece” and green tracksuits like the ones players wear in the deadly “Squid Game.”

When Cookie Monster appeared behind a DJ booth on the “N” shaped red carpet to sing “‘C’ is for Cookie,” adults in “Squid Game” tracksuits joined in the chorus.

“It’s all-encompassing and global and passionate,” Tudum host Carson, known for starring in Netflix movies including “Carry-On” and “Purple Hearts,” said in an interview after the event ended. “It is truly extraordinary to feel the love from every single part of the world — it crosses languages, it crosses cultures.”

Shaheidi Jimenez, 21, came to the Netflix event as a fan of “Wednesday” and “Squid Game.” She hadn’t watched “Stranger Things,” but seeing the screaming fans for the show’s actors on the red carpet made her more curious about the sci-fi series.

“When I see the cast, it makes me want to watch it now,” Jimenez said. “I’m familiar with them more. It makes me want to watch the show and probably get into it.”

MSNBC’s Nicolle Wallace has delivered some sharp criticism of President Trump since she became a host on the progressive-leaning cable news network in 2017.

So it’s surprising that her new podcast shares its name with one of Trump’s regular boasts about his team: “The Best People.”

“I thought he had abandoned it,” Wallace, 53, told The Times. “But I actually think ‘the best people’ was one of his best messages in 2016.”

“He abandoned it officially when he picked Matt Gaetz,” she added, referring to Trump’s first choice for attorney general.

Each week on “The Best People,” starting Monday, Wallace will have lengthy conversations with actors, musicians, thought leaders and other figures outside of politics. The guest on the first episode is actor and fellow podcaster Jason Bateman, followed by Sarah Jessica Parker, music producer Jimmy Jam, folk singer Joan Baez and Milwaukee Bucks coach Doc Rivers in coming weeks.

The jump into podcasting comes as the network looks for more ways to reach the growing number of consumers who are no longer watching cable TV.

The network says its existing audio podcasts, which include series from hosts Rachel Maddow, Chris Hayes and Jen Psaki, will top 10 million downloads in May.

“Our goal is to meet our audience where they are and to bring the talent of our hosts and anchors to them in those spaces,” said Madeleine Haeringer, MSNBC’s senior vice president of digital, audio and longform. “It’s not a one-size-fits-all formula — but instead, tailoring each project to both the host and the platform.”

Wallace said she was ready to expand her role at MSNBC before the corporate changes. Podcasting appealed to her because, as a working mom, she knows many women aren’t available to watch her daily program in the afternoon.

Her branching out into less overtly political territory is somewhat unexpected.

The former Bush White House communications director’s tenure on the ABC talk show “The View” was brief, partly due to her lack of pop culture expertise.

That’s not a concern this time around, she said. The guests she solicited for “The Best People” are coming to the table to discuss their own advocacy issues apart from the kind of instant political analysis presented on her MSNBC program “Deadline: White House.”

Wallace connected with Jimmy Jam when they discussed creating a “We Are the World” type of musical production to aid Ukraine. She knew Rivers through his social justice activism (as coach of the Los Angeles Clippers, he had to guide the players through the scandal over former owner Donald Sterling’s racist comments) and Parker for her devotion to literacy programs.

The podcast format allows them to open up in a way that doesn’t always happen on live TV.

“For some reason, people sitting in front of their computer screens on the Zoom are even more candid and forthcoming about how they feel,” Wallace said.

Wallace is wading into digital media at a time when MSNBC is in transition. The channel, along with other NBCUniversal cable outlets, is being spun off from current owner Comcast into a new company called Versant.

Comcast is getting out of the cable channel business, with the exception of its potent reality brand Bravo, out of concern about the steady decline of the pay TV audience. Over the last 10 years, cord-cutting has reduced the number of cable homes MSNBC reaches by 33%.

MSNBC also saw a mass exodus of viewers just after the presidential election, as its loyal left-leaning audience tuned out after Trump’s victory.

The ratings have gradually climbed back up, with MSNBC maintaining its second place position behind perennial cable leader Fox News but well ahead of third place CNN. In May, the network was up 24% from the lows it hit in November and December, but is still down 35% compared to the presidential campaign-elevated levels of a year ago, according to Nielsen.

But leadership at Versant has it made clear that MSNBC will continue to cater to a politically progressive audience.

Wallace believes the commitment to the network’s point of view has only deepened under new management. “It’s a culture that really rewards deep wonky coverage of politics,” she said. “[MSNBC President] Rebecca Kutler has come in and tripled down on all of that.”

The spinoff requires separating MSNBC from NBC News, where some journalists were uneasy with the intensity of partisan commentary on the cable network. Versant is hiring its own newsgathering team — as many as 100 journalists — including justice and intelligence correspondent Ken Dilanian, who is moving over from NBC.

“To work for someone who is hiring reporters at a time when we’re looking at an administration that seems a little meh about the Constitution is pretty forward leaning,” Wallace said.

She was inspired to try something new by the extracurricular activities of her husband, the New York Times’ Pulitzer Prize-winning reporter Michael S. Schmidt, who co-created the Netflix thriller series “Zero Day” with former NBC News President Noah Oppenheim.

“Michael enjoyed it so much it gave me the idea to add something that is a little outside my comfort zone,” Wallace said.

Wallace met Schmidt, 41, at MSNBC, where he is a contributor. They married in 2022 and a year later had their first child via surrogate. Wallace also has a 13-year-old son, Liam, from her first marriage.

While Wallace and Schmidt have a business-like dynamic when they appear together on the program, family matters creep in off-camera.

“When we are both on set, my son is texting us about dinner,” Wallace said. “During the breaks, we’re never talking about the rule of law. We’re talking about logistics.”

Ricky Gervais is living his best life right now. Even when he’s busy talking about death. On Saturday his new tour, Mortality, arrives at the Hollywood Bowl, where thousands will hear him tackle hilariously macabre commentary about life — and the end of it — through his signature blend of dark humor, empathy and razor-sharp commentary. His last appearance at the Bowl in 2023 with Armageddon earned him a Guinness World Record for the highest-grossing single stand-up performance — so, no pressure.

Gervais is also known for turning awkward pauses and brutal honesty into comedy gold, so it’s only fitting that after such a long career full of accolades that he would also finally earn a coveted spot on the Hollywood Walk of Fame on Friday. As Hollywood honors the man who’s roasted its elite with such precision, to be roasted for eternity by the Hollywood sun sounds fitting.

It’s not all about receiving: Giving back matters to Gervais and he’s doing that by helping spotlight the next wave of comedic talent through the Spirit of Comedy — a U.K. stand-up contest presented by Dutch Barn Vodka, which he happens to co-own. With a star on the Walk of Fame, a massive show at the Bowl, and a platform for rising comics, Gervais is fully owning his Hollywood moment. But he needs to be home by 6 p.m.

You’ve spent your career pushing comedy boundaries, has there ever been a moment where you thought, “Oh yeah, I’m going to have to defend this one?”

Oh no, it all comes and goes. It’s cyclic. People get nervous and that’s just always been there from day one. People get worried and then I say, well, this is why it’s OK. Sometimes it’s an executive producer or a broadcaster who just wants some ammunition to defend it. Because sometimes, they don’t know whether it’s OK or not, they just don’t want to get complaints. If I can go “listen, this is why it’s OK,” then they often trust me because I can defend it. It’s not me sitting in the room going, “what’s the most offensive thing I could say to get the BBC burned down?” There’s always a point to it. Offense often comes from people mistaking the subject of a joke with the actual target, and they’re not usually the same.

It sometimes feels like comedians, whose job it is to joke, are being held to a higher standard when it comes to what is “offensive.”

We’re human, so we react to buzzwords and we’re cautious of taboo subjects. That’s why they’re still taboo, because we’re cautious of them. I do that on purpose as well, particularly with my stand-up where I talk about contentious issues and taboo subjects because I do want to take the audience to a place they haven’t been before. I do want them to reflect on it, worry about it, think about it and then, I’ve got to misdirect them. It’s like I take them by the hand through a scary forest but it’s OK because they always laugh. If I were going out there and saying things that were really offensive, and no one was laughing, well, that would be odd. That’s what politicians do. Politicians say awful things and they mean it, and no one laughs. Comedians say things they don’t mean, everyone laughs and they get the same treatment.

But you have to have free speech, and there’s nothing you could say that someone somewhere won’t be offended by. It’s impossible so you shouldn’t even try. I don’t go out there and try to ruin the audience’s evening, I go out there and I make a joke and it’s crafted. We’re human though and we take things personally, but you shouldn’t because I think comedy is best as an intellectual pursuit.

“Comedy is best as an intellectual pursuit” sums you up because you’re not careless. There’s a formula to it all.

Exactly. You should go “well, that’s a bad subject and I don’t agree with the punchline, but does it work comedically?” It’s a magic trick. It is a formula. You can’t argue with chemistry. No one goes, well, I know I laughed, but I don’t agree with it. Well, it did what it does. That’s the joke and I’m not gonna change the joke or meaning. I think the only form of censorship, as an audience, is your right not to listen. You just don’t have to watch. You can leave, not buy my stuff, not buy my tickets, and that’s absolutely fine.

You can turn your own TV off, but what you can’t do is make other people turn their TV off. That’s the difference. And then, people will complain about something you’re doing in the privacy of your own home, even if they have to go up to their attic and stand on a stepladder and look through binoculars to see it. They will find it. People sometimes seek out the offense and that’s actually where people can get addicted to being offended. They like it, it makes them feel alive. The news even picks up Twitter! They say, “Oh, fans weren’t happy!” Three fans weren’t happy.

“I don’t go out there and try to ruin the audience’s evening, I go out there and I make a joke and it’s crafted,” Gervais said. “We’re human though and we take things personally, but you shouldn’t because I think comedy is best as an intellectual pursuit.”

(Andy Hollingworth)

Tweets making headlines is why we can’t have nice things. I wanted to ask about the Spirit of Comedy contest, where the winner gets to open for you at OVO Arena Wembley. How did all of this happen?

I know, it’s mad! I’ve never done anything like this before and I’ve turned down loads of things, but this co-ownership with [the show’s sponsor] Dutch Barn Vodka is different. When we met, we first bonded about the company being really ethical. It was sustainable, it was recyclable, they used British apples, they were vegan, they paid their workers really well—they were really trying to be good, and I like that. They said they wanted me to make it famous, make it a global brand, and that I could do the advertising, which really interested me. I do all of my own trailers, I write all my own stuff, so that was exciting creatively. What a great nut to crack.

The business side of it sort of came last, but it all made sense too. The main thing about it was I felt I could sleep at night, and I could still have fun. That’s all I really cared about. The contest was actually all Dutch Barn’s idea and when they were asked about the contest they said something like, “Well, we know Ricky’s not going to last forever.” Maybe they’re finding my replacement? How cruel and ironic would that be?

Well, at least you can go down knowing you broke a record at the Hollywood Bowl.

Yes! It was two years ago, and I just put out a tweet because it broke the record for a single gig. I don’t know why I’m doing it again. I did it once, it was frightening, I broke the world record and it was great. Why would I do it again?

Ricky Gervais speaks at the 77th Golden Globe Awards on Jan. 5, 2020, at the Beverly Hilton Hotel in Beverly Hills.

(Associated Press)

Because we love you in L.A. and it’s been too long. That’s why.

I haven’t been avoiding it, it’s just a long way so I try to do as much as I can while I’m there. I sort of work out of London now and also, it gets harder with jet lag. I’m 63! Jet lag lasts about a week now! Everything is worse, isn’t it? I’m offered really cool things every day, flying around the world and I just think, is it better than me sitting on the couch with my cat and my girlfriend watching Netflix? No. It has nothing to do with anything else other than how valuable your time is and how you wanna spend it.

Is that why you named your tour “Mortality”? Are you planning?

Sort of. There’s a joke in there where I sort of talk about getting old, looking back and all the things that are going wrong which are funny. The reason I started doing one word, sort of academic-style titles, was that I was sarcastically making fun of the pomposity of some comedians who think they’re doing lectures. That’s where it started when I was pricking that bubble of comedians who think they’re changing the world. I’ve kept up the one-word thing, but also, mortality, it’s a scary subject so already the audience is going, is Mortality gonna be funny? Yeah, it’s funny! I’m the one dying. Sit back and laugh.

From sitting to kneeling, it’s fitting — and a bit ironic — that someone who roasted Hollywood so memorably is now being cemented into its history with a star on the Walk of Fame.

Well, that’s funny because the first time they told me I got it I said, “Oh? Do I have to get down on all fours on the concrete? I’ll never get up! I’ve also got bad skin!” I had all of those thoughts, but I’m doing it the day before the Hollywood Bowl so I can kill two birds with one stone. It’s all about getting home on the couch by 6 p.m. This life, you know what I mean?

You started kind of late, but you did earn this comfortable life. And maybe 6 p.m. is the new midnight.

When I grew up, I was good at school, I went to college, then I was a failed pop star, and I never had money. Really, I never had any money. I think I was about 37 years old when I started doing this, and I just grabbed a hold of it. I thought, this is a really lucky second bite of the cherry. You better not screw this one up. So, I did work really hard, but in saying that, what does this sound like? “I work really hard in a room writing while drinking cappuccino.” Some people are hiding behind a wall getting shot at! My dad was a laborer for 60 years! It’s funny to say that, because now, I’m glad I was born poor. It’s not something that I talk about much, but I am sort of proud of myself. I didn’t have a penny, and no one gave me anything. It might be luck, but I still feel like I beat the system.

Esai Morales is on a death-defying mission to make Tom Cruise’s life impossible, yet again, in the latest installment of the “Mission: Impossible” action film franchise. Titled “The Final Reckoning,” the movie was released Friday.

Morales reprises his role as Gabriel, an assassin liaison set on carrying out a dangerous mission for Entity, an artificial intelligence system gone rogue, whose capabilities render it a danger to human society. This role dates back to the first “Mission: Impossible” film in 1996, as a murder Gabriel committed was the impetus for Ethan Hunt (Tom Cruise) to join the Impossible Missions Force.

“I have to look at Gabriel as the star of his own movie,” said Morales in a video call. “I play these characters with as much humanity as I can.”

Although for most of the franchise Gabriel is presumably dead, audiences are introduced to Morales’ character in the 2023 summer flick, “Mission: Impossible — Dead Reckoning Part One.” Besides shouldering responsibility as the main antagonist, which involves risky stunts opposite veteran adventurer Cruise, Morales also made franchise history as the first Latino lead in the action series.

The Brooklyn-born Puerto Rican actor is best known for his role as Bob Morales in the 1987 Chicano film “La Bamba” and as Jesus “Chucho” Sánchez in 1995’s “Mi Familia” — both of which been added to the National Film Registry at the Library of Congress. Morales is also known for his roles as Joseph Adama in the “Battlestar Galactica” prequel spin-off of “Caprica,” as well as Camino del Rio in Netflix’s “Ozark” and villain Deathstroke in the DC “Titans” series.

“The thing I love about ‘Mission: Impossible,’ with Gabriel, is that you don’t know he’s Latino,” Morales said. “It doesn’t focus on race. It focuses on the race to get the key!”  

Likewise, the release of the last two “Mission: Impossible” films was a dash to the finish. Directed by Christopher McQuarriel, filming spanned five years with some stops along the way due to the COVID-19 pandemic, plus the 2023 strikes by members of the Screen Actors Guild (SAG-AFTRA) and the Writers Guild of America. Additional costs due to inflation brought the total budget of the Paramount Pictures movie up to $400 million, making it one of the most expensive films of all time.

Morales considers its release a momentous occasion — and a “graduation” of sorts.

“All those obstacles are like the pressure that creates a diamond out of coal,” he said. “I hope that the audiences feel what I felt and continue to feel when I watch the film.”

This interview has been edited for clarity and shortened.

 How did you prepare physically and mentally for the role in ”Mission: Impossible”?
I was asked if I was physical and I said, “Actually, yeah.” I love playing tennis so my conditioning is really good. During the pandemic, I [would sneak] into the ocean at dusk and I would swim at night for hours at a time. It was kind of scary. Then [I got] to London and met some of the finest stunt people who do fighting, acrobatics, knife fighting, boxing. The thing is to get your reflexes in shape, because sometimes you have to do take after take and you don’t want to gas out.

Mentally it’s a lifetime of preparation. It’s not like I can study the life of Gabriel, so you apply what you can about your own character and characteristics under imaginary circumstances. Some of it comes from the ether… from the ether going after Ethan [laughs]. It’s an instinct and a lifetime of seeing movies, including the “Mission: Impossible” movies. They work hard. One of the most comforting things they instill is [that] “we’re not gonna leave until we get it right.”

Cruise is known for his gutsy live-action scenes. What was it like to join him on these scenes?
It’s thrilling. I couldn’t think of anyone else whose hands I’d want to put my well-being in, because look at his track record: He’s still alive and extremely healthy, and he doesn’t take these things lightly. He’s extremely strict about safety. Life is inherently risky. If you’re gonna take other risks, it’s best to take them with people that have survived and thrived for decades doing the same.

There’s a death-defying scene up in the air that was being teased a lot in this press run. What was going through your mind as you were up there?
After the initial prayers and thanking God, the universe and the angels, who and whatever has kept me alive and blessed me with an amazing life so far… You’ve gotta let go and let God, as they say.

What impact has this franchise had on your long-term career?
 It’s a blessing. I got the job during one of the most trying times of my life — and everyone else’s. I hope it’s not all downhill from here. I’m just grateful because I got to work on something at this scale, with these kinds of collaborators.

I am hoping that the work I continue to do leads to meaningful roles and characters that enhance the human condition for having watched it. I wanna do things that make people feel good about being human. Even if I’m the bad guy, somebody’s gotta play the bad guy. Right?

But is Gabriel really the bad guy?
Not in this actor’s eyes. For me, I have to look at Gabriel as the star of his own movie.  Wars are not fought by people who feel they’re gonna lose them.  So I play these characters with as much humanity as I can.

How did the COVID-19 pandemic and Hollywood strikes impact production of this film?
I am on the board of SAG-AFTRA. I did feel the impact of both COVID-19 and the strikes. I mean, it was not easy, it was not fun. It’s still not easy. We still have to deal with new media or new technology, speaking of AI. The production stuck together. When you struggle with adversity, it makes you stronger.

You consider yourself an honorary Chicano, particularly because of your role as Bob Morales in “La Bamba.” What memories come to mind when you think back to that role?
 So many, but the incredible irony or synchronicity or synergy that a role with my [last] name on it would be one of the most remembered. They’d say, ‘That has your name all over it.’ Well, this [role] literally did. When people wanted me to focus more on Ritchie, I wanted to bear witness and lend my pain to the role of Bob [Ritchie Valens’ brother].

I don’t know where my career would be without that film and a few others. When you have the ability to be with the person you are portraying, first of all, it’s an extreme amount of pressure because they’re there and you’re not them. And it’s like you’re gonna pretend to inhabit their being and their life. You don’t wanna mess up. But [Bob and I] were able to bond and have a few beers and really kick back, and I was able to absorb Bob’s biorhythm. I absorbed his Mexicanismo, [the same way] Anthony Quinn portrayed “Zorba the Greek.” [Whenever] he went [into] a Greek restaurant, plates would crash in honor of him and his portrayal … and he is a Mexican Irish actor.

 I think a lot of people forget that you’re Puerto Rican because you play the Mexican role so well.
I’m proud to be Puerto Rican, but I’m so secure in it that I don’t feel like I have to wear my banner on my head. I just want my work to speak for itself. We have to embrace that which has toughened us and has given us character and has given us something a little extra yearn for and live for.

There are many Latinos in sci-fi films. I’m thinking of you in “Caprica.” There’s also Diego Luna and Adria Arjona in “Andor,” Zoe Saldaña in “Guardians of the Galaxy,” Pedro Pascal in “The Mandalorian,” Ricardo Montalbán in “Star Trek …” What do you think of space roles introducing Latino actors to new audiences?
 How about to their own audience? We make up 25% of the movie-going audience, at least. It’s a wise decision to include people that in the past were overlooked. We were overlooked. So to put in all the great people is serving your market and representing them. It’s long overdue but extremely welcomed.

Is outer space the gateway to more Latinos in mainstream roles in rom-coms or action?
I would like to see that. I would like to see us play more central characters, people that we can grow to learn, grow to love and feel for, because I think that’s what movies do. They let you inside the heart of your lead characters. And you just can’t help but to love them, you know?

CANNES, France — In Cannes, the weather changes so fast that you can enter a theater in sandals and exit in desperate need of rain boots and a scarf. On Friday, I ran to my room to grab a warmer shirt for an overcast outdoor party. I checked the window and added a jacket, then checked the window again and was stunned to see the sun. By the time I raced back down the Croisette (in something sleeveless), the cocktail hour was over. C’est la vie.

The mutability is a lovely parallel for the filmgoing itself. At the end of a great movie, you feel like the world has changed. And when a film is bad, the director suffers the shock of their forecast being dramatically upended. Before the premiere, they were chauffeured around in festival-sponsored BMWs and now their friends are stammering how much they like their shoes.

Harris Dickinson, the young British actor who convincingly dominated Nicole Kidman in last year’s “Babygirl,” seemed a tad flustered introducing the premiere of “Urchin,” his directorial debut. Jacket and tieless with his dress shirt’s sleeves rolled up lopsidedly, he hastily joked, “I’m nervous, but I hope you enjoy it — and if you don’t, tell us gently.”

That barometric pressure is especially intense in Cannes, but onscreen (so far, at least), the wind is only blowing one way: south. Almost every film so far has been about a character braving a storm — legal, moral, political, psychological — and getting dashed against the rocks.

Joaquin Phoenix, left, and Pedro Pascal in the movie “Eddington.”

(A24)

“Eddington,” Ari Aster’s twisty and thistly modern-day western, is set in New Mexico during that first hot and crazy summer of the pandemic. To his credit and the audience’s despair, it whacks us right on our bruised memories of that topsy-turvy time when a new alarm sounded every day, from the social-distancing rules of the coronavirus and the murder of George Floyd to the rumors that Antifa was rioting in the streets. With “Hereditary,” Aster made horror trauma hip; now, he’s shifted to satirizing our shared PTSD.

Joaquin Phoenix stars as Joe, a sheriff with a soft heart and mushy judgment, who rejects the mask mandate of Eddington’s ambitious mayor (Pedro Pascal), arguing that COVID isn’t in their tiny rural town. Maybe, maybe not — but it’s clear that viral videos have given him and everyone else brain worms. Joe’s wife (Emma Stone) and mother-in-law (Deirdre O’Connell) are fixated on conspiracies involving everything from child trafficking to the Titanic. Meanwhile, Eddington’s youth activists, mostly white and performative, are doing TikTok dances advertising their passion for James Baldwin while ordering the town’s sole Black deputy (Micheal Ward) to take a knee. No one in “Eddington” speaks the truth. Yet everyone believes what they’re saying.

Phoenix’s Joe watches Henry Fonda movies and wears a symbolic white hat. Yet, he’s pathetic at maintaining order, pasting a misspelled sign on his police car that reads: Your being manipulated. Having lived through May 2020 and all that’s happened since, we wouldn’t trust Aster anyway if he’d pretended a savior could set things right. Still, there’s no empathizing with hapless, clueless Joe when he whines, “Do you really think the power is with the police?”

Well, one person in a Cannes film does: the lead of Dominik Moll’s “Dossier 137,” a single mother named Stéphanie (Léa Drucker), who just so happens to be a cop herself. Once, Stéphanie investigated narcotics. Now, she gathers evidence when her fellow officers are accused of misbehavior. An inspired-by-a-true-story detective movie set in the aftermath of the 2018 Paris demonstrations, the film’s central case involves a squad of undercover officers who allegedly shoot a 20-year-old protestor in the head with a rubber bullet, shattering the front of the boy’s skull.

Moll has made the kind of sinewy procedural that makes your palms sweat. “I have no personal feelings,” Stéphanie insists, even as her ex-husband and his new girlfriend, also police officers, accuse her of being a traitor. More precisely, she allows herself no visible emotions as she questions both the accusers and the accused. It’s impressive to watch the meticulous and dogged Stéphanie put together the pieces and make the liars squirm. But she’s the last person in the movie to see the big picture: No matter how good she is, she can’t be a hero.

Aleksandr Kuznetsov in the movie “Two Prosecutors.”

(Festival de Cannes)

Sergei Loznitsa’s Stalin-era drama “Two Prosecutors” lugs its own protagonist along that exact same journey; it’s affixed to cynicism like a train on a track. Here, the ill-fated idealist is a recent law student (Aleksandr Kuznetsov) who wants to interview a prisoner that the government would rather remain disappeared. The voices that once boldly spoke out against the Soviet regime have long since been silenced. Now, the Great Purge is locking up even the Russians who swear they love their leader.

Methodical and dreary, the film’s key image is of Kuznetsov (who coincidentally-but-on-purpose has a nose that appears to have been busted around) walking down endless dismal hallways. He’s polite and stoic, but we all know he’s not getting anywhere. The film plays like a sour joke with an obvious punchline. I respected it fine, but slow and inevitable don’t make great bedfellows. The jet-lagged stranger next to me nodded off for a nap.

Snores weren’t a problem at “Sirât,” a nail-biter that had its midnight crowd wide awake. The fourth Cannes film by the French-born Spanish director Oliver Laxe, it’s about dirtbag ravers who’ve gathered in a barren stretch of Morocco for a stunning party: orange cliffs, neon lights, thumping EDM beats and dancers thrashing in the dust like the living dead. The only sober attendees are a father (Sergi López) and his young son (Bruno Núñez) who are hoping to find the boy’s sister, a bohemian swept up in the relentless rhythm of this road-tripping bacchanalia. But when the party gets busted up by the police, this fractured family joins a caravan headed in the vague direction of another fest. Next stop, disaster.

An image from the movie “Sirât,” directed by Oliver Laxe.

(Festival de Cannes)

The small ensemble cast looks and feels like they’ve already lived through an apocalypse. Two of his actors are missing limbs and nearly all are flamboyantly tattooed. As these battered vans hurtle through the desert, it’s obvious that “Sirât” believes the age of “Mad Max” has already begun. But Laxe’s cadence of death is nasty and arbitrary and delightful. He’s unconvinced that we can form a community able to survive this harsh world. At best, he’ll give us a coin flip chance of success. I’ve got to watch the film again before I decide whether (a) it’s a comedy and (b) it has anything deeper to say. But a second viewing won’t be a hardship. Even if “Sirât” proves half-empty instead of half-full, witnessing another audience gasp at its mean shocks will be sweet schadenfreude.

Which finally brings us back to Harris Dickinson. His film “Urchin” is good. Great, even. The last time he was in Cannes, it was as the lead in Ruben Östlund’s “Triangle of Sadness,” but he’s a real-deal director. It’s high praise to his acting that I don’t want him quitting his day job just yet.

“Urchin” lopes after a drug-addled boy-man named Mike (Frank Dillane, fantastic) who’s been sleeping and scavenging on the London streets for five years. Yes, Dickinson has gone 21st-century Dickensian; Mike pesters people for ketamine, vodka and spare change like Oliver Twist begged for porridge. But this isn’t a pity piece. “Urchin” is energetic and filled with life: funny asides, tiny joys, stabs of recognition and flourishes of visual psychedelia.

Mike is given multiple chances to change his fortunes. Yet, he’s also stubbornly himself and we spend the running time toggling between being scared for him and being scared of him. Dickinson, who also wrote the film, wants us to know not just how easy it is to slide down the social ladder but what a small step forward looks like, even if his tone is ultimately more Sisyphean than self-help.

After the movie, I ducked into the drizzle, then into a cafe. A man was monologuing to an acquaintance about his career change from tech to film and this is my favorite place to eavesdrop.

“I was rich and successful but I had to look for something more jazzy,” he explained, stabbing at the other person’s plate of charcuterie. He’s now broke, he said, and divorced. But somehow, he seemed content. He’d emailed his script to Quentin Tarantino. Maybe next Cannes, he’ll be the one getting fêted and chauffeured. Maybe the wind would start blowing his way. A great movie really can change your life.

The TV industry and buyers of commercial time were able to breathe a little easier going to their annual week of presentations known as the upfronts.

Not long before the curtain went up Monday at Radio City Music Hall for NBCUniversal’s event, President Trump announced he would hold off on tariffs on China, easing some of the economic uncertainty going into the selling season for television networks.

But the messaging from media executives throughout the week acknowledged that advertisers will be under pressure to get more from their marketing dollars. Between performances by Lizzo, Lady Gaga and the Dallas Cowboys Cheerleaders, ad buyers heard about the new artificial intelligence-powered tools for targeting specific audiences.

While traditional TV still commands the bulk of U.S. advertising spending, advertisers’ increasing comfort with streaming was apparent.

Seven years ago, YouTube executives had to reassure sponsors that the company would work harder to keep their ads from running in user-created videos that pushed conspiracy theories or hate speech.

But at the Google-owned platform‘s gathering at Lincoln Center on Wednesday, the audience saw a glowing testimonial video from Marc Pritchard, chief branding officer for Procter & Gamble, a company known for being meticulous about its marketing and media decisions.

Netflix and Amazon marched into the week buoyed by the growing number of streaming subscribers who see ads. Netflix said its service carrying commercials now reaches 90 million subscribers worldwide while Amazon’s Prime Video is now at 130 million in the U.S.

The week of parties and parade of celebrities offered a glimpse into the current state of the TV business. Here’s what stood out:

Live sports rule, especially the NFL

Walt Disney Co.’s TV lineup is packed with big-name talent. But the company kicked off its upfront with an opening number by an unlikely singing duo — former NFL quarterbacks Eli and Peyton Manning.

The audience at North Javits in Manhattan saw two more NFL stars, Kansas City Chiefs quarterback Patrick Mahomes and Philadelphia Eagles running back Saquon Barkley, before a single actor appeared on stage. It was a sign of the NFL’s vital importance to the company and the TV business writ large.

Disney — where not too long ago Chief Executive Bob Iger mused about spinning off ESPN — wasn’t alone in touting its commitment to the league.

NFL Commissioner Roger Goodell did a walk-on at the YouTube presentation to announce the platform’s first exclusive livestream of a league game, the Los Angeles Chargers season opener against the Chiefs in Brazil on Sept. 5.

Roger Goodell speaks onstage during Netflix’s Upfront 2025 on Wednesday in New York.

(Roy Rochlin / Getty Images for Netflix)

On the Netflix stage, Goodell was joined by Cowboys owner Jerry Jones to plug a documentary series on the franchise and announce this year’s two Christmas games that will be carried on the platform.

Jason and Travis Kelce promoted their Wondery podcast at Amazon’s show. Former tight end Rob Gronkowski showed up at two upfront presentations, one for Fox where he is part of the network’s NFL coverage and later at YouTube because, well, why not?

NFL games accounted for 95 out of the top 100 most-watched TV programs last year and is now setting records on streaming. Netflix had its most watched Christmas Day in history when 65 million U.S. viewers streamed some portion of its NFL double header. (Goodell wore a Santa Claus suit for his announcement of this year’s Netflix games).

For TV industry veterans, the emphasis on live sports was surprising. “Traditionally entertainment was the driver of the upfront,” Ben Silverman, co-CEO of production company Propagate, told CNBC.

Or as ABC late night host Jimmy Kimmel put it during his annual Disney upfront roast: “This is all sports. What happened? We used to be so gay.”

But as the audience continues to be atomized by the growing number of streaming options, sports are more valuable than ever for advertisers who want to reach a mass audience.

Executives at Netflix, long on the leading edge of providing niche offerings to fit every consumer’s taste, now extol the virtues of the mass audience viewing experience now that it carries NFL games.

Live sports have become a lifeline to traditional TV, as most young viewers have turned to streaming for scripted series and movies. The trend was reflected in NBCUniversal’s presentation, which emphasized the arrival of the NBA on the network that will cost $2.5 billion a year.

“Tonight” host Jimmy Fallon may have summed it up best when he said, “Good morning, I’m glad to be at the NBA upfront — I mean NBC upfront.”

Planning for life after cable

Warner Bros. Discovery stunned the crowd at the Theater at Madison Square Garden with the announcement that its streaming service Max will once again be called HBO Max. The company stripped HBO from the name in 2023, believing the HBO brand name was too exclusive for the service’s ambitions to broaden its audience.

Dropping the prestigious HBO logo from the name of the service was a dubious decision from the start. But restoring it was a recognition of an undeniable fact: the future belongs to streaming, so why relegate a familiar and respected brand name to the waning cable box?

CNN and ESPN announced that their direct-to-consumer streaming services rolling out later this year will use the network names that have been familiar to cable viewers for more than four decades. The monikers will not carry a plus sign or any other designation that suggest the product differs from what’s on TV, and that’s by design.

Younger viewers may be forgoing cable subscriptions, but they know the CNN and ESPN brand names through their digital content. For those viewers, streaming isn’t an add-on, it is the way they watch TV

Movies are open for ad business, too

Not so long ago, seeing a movie star on stage at a network upfront presentation was a big deal.

But streaming has blurred the line by offering both series and original movies, and media companies are using that to their advantage when pitching to advertisers. The trend has given the platforms a bit more sizzle in their pitches.

Charlize Theron speaks onstage during Netflix’s upfront presentation Wednesday in New York.

(Jamie McCarthy / Getty Images for Netflix)

Arnold Schwarzenegger riffed at length about his upcoming Christmas film for Amazon, “The Man With the Bag.” The moment got added mileage when the former California governor’s “True Lies” co-star Jamie Lee Curtis joined him on stage.

Charlize Theron took the stage at the Perelman Performing Arts Center to plug her upcoming Netflix feature “Apex.”

NBCUniversal teased the sequel to “Wicked,” which will eventually run on its Peacock streaming service.

Warner Bros. Discovery touted its sponsor partnerships for the theatrical blockbuster “A Minecraft Movie” and brought out James Gunn and Peter Safran, keepers of DC Studios, to say there will be opportunities for the upcoming Superman movie and other projects.

As the box office improves, will a steep discount on tickets bring more people to the multiplex this summer?

That’s what AMC Theatres is betting.

The Leawood, Kan.-based chain said this week that members of its AMC Stubs loyalty program, which has a free tier, will get 50% off adult evening-priced movie tickets all day long Wednesdays, starting July 9.

The move comes as the studios and theater owners have struggled to bring audiences back to the movies after the COVID-19 pandemic.

Box-office revenue improved in fits and starts as the pandemic waned, though the number of films released was greatly affected by the dual writers and actors strikes in 2023.

As of this past weekend, domestic ticket sales this year are down about 30% compared with the same time period in 2019, according to Comscore. Even before the pandemic, attendance numbers were declining.

But there is some hope on the horizon.

Total North American box-office grosses this year are expected to reach about 80% of 2019’s totals, with 2026 predicted to reach 86%, said Alicia Reese, senior vice president of equity research for media and entertainment at Wedbush Securities.

“The post-pandemic recovery has been pretty bumpy,” she said. “That said, the strikes really challenged the box-office volume for a while, but that’s now in the rear-view mirror.”

Theatrical attendance and flexible ticket pricing were frequent topics of conversation at the CinemaCon trade conference earlier this year in Las Vegas, where studio executives and exhibitors alike mused about how to bring audiences back to theaters.

A more diverse lineup of films would help, some said. Others, like Paramount domestic distribution president Chris Aronson, argued that an improved experience in the theaters, including fewer ads, limited trailers, extended matinee pricing or daily deals could lure customers back.

He highlighted the “Discount Tuesday” promotion available at many theaters.

“Why not ‘Discount Wednesdays’? Unless, of course, you’re already at full capacity on Wednesday, in which case, don’t do it,” he said during his on-stage presentation, to laughter from the audience of theater owners and industry executives.

That’s now exactly what’s happening at AMC, as theater operators consider ways to improve traffic on less-attended weekdays.

In explaining the decision, AMC Chief Executive Adam Aron touted the improved box-office results in the fiscal second quarter.

Just a few months ago, the industry was collectively wringing its hands over the poor performance in the first quarter, including underwhelming showings from films such as Disney’s troubled live-action “Snow White” and a general lack of blockbusters.

The bleak first quarter at the box office took a toll on AMC’s earnings, which the chain reported last week.

The company reported revenue of $862.5 million, down 9.3% from the $951.4 million it logged during the first quarter of 2024. Net loss for the first quarter was $202.1 million, compared with a loss of $163.5 million during the previous year. AMC also reported lower attendance for the first quarter with 41,903 admissions, a decrease of 10.1% from the same time period a year ago.

Aron cautioned in a statement at the time that the first-quarter domestic box office was “a distorting anomaly” and that anyone trying to draw conclusions about the movie theater business from those results was “likely to be mistaken.”

So far this spring, films like Warner Bros. Pictures’ “A Minecraft Movie” and Ryan Coogler’s “Sinners” have jolted the box office back to life.

And with several new movies on the horizon, including Disney’s live-action “Lilo & Stitch” and the Tom Cruise-led “Mission: Impossible — The Final Reckoning,” analysts and theaters feel optimistic about the potential box office trajectory. As of last weekend, the year’s box-office grosses are up 16% compared with the same time period last year, according to Comscore.

“Realistically, we could not afford to have made this change to our ticket pricing strategy until the box office showed true signs of sustained recovery,” Aron said in a statement. “But in April and now in May, the box office has been booming, and the remainder of 2025 appears poised to continue that upward box office trend.”

Already, Tuesdays have emerged as the biggest non-weekend moviegoing day, said Paul Dergarabedian, senior media analyst at Comscore. Adding another lower-priced day to the mix could help drive attendance, increase concession sales and expose audiences to trailers for new films, he said.

“When consumers feel like they’re getting something more, the loyalty developed there is very important,” Dergarabedian said. “Having one of the bigger chains commit to this is a big deal.”

The initiative will likely be a test to whether it cannibalizes higher-priced attendance on other days, Reese said.

“Overall, I think it’s a strong strategy with a lot of really good content available over the summer to get people who wouldn’t otherwise go to the movies to come back to the movie theater,” she said. “Either way, it gets attention, it gets far more people onto their loyalty programs that they can communicate with directly, it opens their eyes to AMC’s paid subscription program.”

Dynamic ticket pricing, similar to hotels and concerts, has long been discussed as a potential attendance booster but hasn’t been fully embraced for movies.

Nonetheless, AMC has experimented with different kinds of discounts. The company a couple years ago introduced modestly lower-priced tickets for less in-demand front row seats, but later backed away from the idea.