drama

Leo Frank, the superintendent of a pencil factory in Georgia, was accused of murdering a young employee, 13-year-old Mary Phagan. His 1913 trial led to his conviction despite shoddy evidence and the manipulations of an ambitious prosecuting attorney, who shamelessly preyed on the prejudices of the jury.

After a series of failed appeals, Frank’s sentence was commuted by the governor, but he was kidnapped and lynched by a mob enraged that his death sentence wasn’t being imposed. The story garnered national attention and threw a spotlight on the fault lines of our criminal justice system.

This dark chapter in American history might not seem suitable for musical treatment. Docudrama would be the safer way to go, given the gravity of the material. But playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a vision of what they could uniquely bring to the retelling of Frank’s story.

Olivia Goosman, from left, Jack Roden and the national touring company of “Parade.”

(Joan Marcus)

Their 1998 musical was a critical hit but a difficult sell. More admired than beloved, the show has extended an open challenge to theater artists drawn to the sophisticated majesty of Brown’s Tony-winning score but daunted by the expansive scope of Uhry’s Tony-winning book.

Director Michael Arden has answered the call in his Tony-winning revival, which has arrived at the Ahmanson Theatre in sharp form. The production, which launched at New York City Center before transferring to Broadway, proved that a succès d’estime could also be an emotionally stirring hit.

“Parade” covers a lot of cultural, historical, and political ground. The trial, prefaced by a Civil War snapshot that sets the action in the proper context, takes up much of the first act. But the musical also tells the story of a marriage that grows in depth as external reality becomes more treacherous.

It’s a lot to sort through, but Arden, working hand in hand with scenic designer Dane Laffrey, has conceptualized the staging in a neo-Brechtian fashion that allows the historical background to be seamlessly transmitted. Sven Ortel‘s projections smoothly integrate the necessary information, allowing the focus to be on the human figures caught in the snares of American bigotry and barbarism.

Danielle Lee Greaves, left, and Talia Suskauer in the national tour of “Parade.” Suskauer plays Lucille, Leo’s wife.

(Joan Marcus)

The 2007 Donmar Warehouse revival, directed by Rob Ashford, came to the Mark Taper Forum in 2009 with the promise that it had finally figured out the musical. The production was scaled down, but the full potency of “Parade” wasn’t released. An earnest layer of “importance” clouded the audience’s emotional connection to the characters, even if the Taper was a more hospitable space for this dramatic musical than the Ahmanson.

Arden’s production, at once intimate and epic, comes through beautifully nonetheless on the larger stage. “Parade,” which delves into antisemitism, systemic bias in our judicial system and the power of a wily demagogue to stoke atavistic hatred for self-gain, has a disconcerting timeliness. But the production — momentous in its subject matter, human in its theatrical style — lets the contemporary parallels speak for themselves.

Ben Platt, who played Leo, and Micaela Diamond, who played Leo’s wife, Lucille, made this Broadway revival sing in the most personally textured terms. For the tour, these roles are taken over by Max Chernin and Talia Suskauer. Both are excellent, if less radiantly idiosyncratic. The modesty of their portrayals, however, subtly draws us in.

Chris Shyer, left, and Alison Ewing play Governor Slaton and his wife, two of the more noble figures in the show.

(Joan Marcus)

Chernin’s Leo is a cerebral, Ivy League-educated New Yorker lost in the minutiae of his factory responsibilities. A numbers man more than a people person, he’s a fish out of water in Atlanta, as he spells out in the song “How Can I Call This Home?” Platt played up the comedy of the quintessential Jewish outsider in a land of Confederate memorials and drawling manners. Chernin, more reserved in his manner, seethes with futile terror.

The withholding nature of Chernin’s Leo poses some theatrical risks but goes a long way toward explaining how the character’s otherness could be turned against him in such a malignant way. His Leo makes little effort to fit in, and he’s resented all the more for his lofty detachment.

It takes some time for Suskauer’s Lucille to come into her own, both as a wife and a theatrical character. It isn’t until the second half that, confronting the imminent death of her husband, she asserts herself and rises in stature in both Leo’s eyes and audience’s. But a glimmer of this potential comes out in the first act when Lucille sings with plaintive conviction “You Don’t Know This Man,” one of the standout numbers in a score distinguished less by individual tunes than by the ingenious deployment of an array of musical styles (from military beats to folk ballads and from hymns to jazz) to tell the story from different points of view.

Max Chernin’s Leo is a cerebral, Ivy League-educated New Yorker lost in the minutiae of his factory responsibilities.

(Joan Marcus)

“This Is Not Over Yet” raises hope that Leo and Lucille will find a way to overcome the injustice that has engulfed them. History can’t be revised, but where there’s a song there’s always a chance in the theater. Reality, however, painfully darkens in the poignant duet “All the Wasted Time,” which Lucille and Leo sing from his prison cell — a seized moment of marital bliss from a husband and wife who, as the last hour approaches, have finally become equal partners.

Ramone Nelson, who plays Jim Conley, a Black worker at the factory who is suborned to testify against Leo, delivers the rousing “Blues: Feel The Rain Fall,” a chain gang number that electrifies the house despite the defiance of a man who, having known little justice, has no interest in defending it. Conley has been sought out by Governor Slaton (a gently authoritative Chris Shyer), who has reopened the investigation at Lucille’s urging only to uncover contradictions and inconsistencies in the case. He’s one of the more noble figures, however reluctant, married to a woman (a vivid Alison Ewing) who won’t let him betray his integrity, even if it’s too little, too late.

Hugh Dorsey (Andrew Samonsky), the prosecuting attorney preoccupied with his future, has no regrets after railroading Leo in a politicized trial that will cost him his life. Dorsey is one of the chief villains of the musical, but Samonsky resists melodrama to find a credible psychological throughline for a man who has staked his career on the ends justifying the means.

Lucille (Talia Suskauer, left) and Leo (Max Chernin) sing a poignant duet from his prison cell.

(Joan Marcus)

Britt Craig (Michael Tacconi), a down-on-his-luck reporter who takes delight in demonizing Leo in the press, dances on his desk when he’s landed another slanderous scoop. But even he’s more pathetic than hateful. One sign of the production’s Brechtian nature is the way the structural forces at work in society are revealed to be more culpable than any individual character. The press, like the government and the judiciary, is part of a system that’s poisoned from within.

The harking back to the Civil War isn’t in vain. “Parade” understands that America’s original sin — slavery and the economic apparatus that sanctioned the dehumanization of groups deemed as “other” — can’t be divorced from Leo’s story.

The musical never loses sight of poor Mary Phagan (Olivia Goosman), a flighty underage girl who didn’t deserve to be savagely killed at work. It’s exceedingly unlikely that Leo had anything to do with her murder, but the show doesn’t efface her tragedy, even as it reckons with the gravity of Leo’s.

When Chernin’s Leo raises his voice in Jewish prayer before he is hanged, the memory of a man whose life was wantonly destroyed is momentarily restored. His lynching can’t be undone, but the dignity of his name can be redeemed and our collective sins can be called to account in a gripping musical that hasn’t so much been revived as reborn.

Oscar Branning is set to make a return to Albert Square since his last appearance in 2017 and Max Branning’s son is set to turn the life of his sister Lauren upside down

EastEnders is known for bringing back characters to Albert Square. And this time is no different as Oscar Branning is set to make a return to Walford after eight years away.

Oscar is the son of Tanya and Max Branning but the mum of three fled Walford to get away from her toxic husband, with her young son in tow.

Oscar has not been seen on screen since 2017 when he made a brief appearance on the BBC soap to celebrate Father’s Day with his elated dad, in full view of other residents at the Queen Victoria pub.

And while Oscar, who is now 17, has always been a little on the quieter side leaving the family drama in the hands of his parents and elder sisters, Lauren and Abi, it seems sparks are set to fly this time round.

Speaking about Oscar’s upcoming appearance played by Pierre Moullier, Executive Producer Ben Wadey said: “I’m very excited to bring Oscar Branning back to Walford and introduce viewers to him now that he’s all grown up.”

He added: “Oscar is very much a Branning which means there’s going to be plenty of drama in store this summer. We’re delighted to welcome Pierre as he takes on the role and can’t wait for viewers to see him bring Oscar to life.”

And when asked how he felt to be joining an iconic soap, actor Pierre explained: “It’s pretty surreal to join EastEnders – it keeps hitting me that I’m actually on Albert Square!”

He went on to explain: “When I found out I was joining the Brannings, it was so exciting as they are such an iconic family, and I love that there are so many skeletons in the closet.”

He added: “Oscar is so much fun to play, and the audience should be prepared for the unexpected as he’s a complex guy!”

But Oscar’s character is not the only one to have made a comeback, so too has Zoe Slater played by Michelle Ryan.

Twenty years has passed since Michelle was last seen in Walford. And her most memorable scene was in 2001 when she screamed at Kat Slater in the middle of the square “you ain’t my muvva.” To which Kat emotionally responded: “Yes I am.”

But according to the BBC website, Michelle claimed that returning to the show was “like coming home.”

Ben Wadey said that before taking on the role of Executive Producer, Michelle’s character Zoe was on his wish-list.

He admitted to the website: “I was absolutely delighted when Michelle agreed to return, and I’m thrilled to welcome her back to Walford.”

READ MORE: DAZN lets Club World Cup fans watch every game for free if they do one thing

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Among this week’s new releases is “28 Years Later,” the third film in the series that dates back to 2002’s “28 Days Later.” The new project reunites the core creative team from the first movie: director Danny Boyle, screenwriter Alex Garland, cinematographer Anthony Dod Mantle and producer Andrew Macdonald.

This time out the “rage” virus that turns people into crazed cannibal monsters has been isolated to the U.K., which has been quarantined from the rest of the world. A small community of uninfected survivors live on a coastal island and make their way to the mainland to hunt and for supplies. A teenage boy (Alfie Williams), having made one expedition with his father (Aaron Taylor-Johnson), goes back with his ailing mother (Jodie Comer) in search of a doctor (Ralph Fiennes) rumored to be able to help them.

In her review of the film, Amy Nicholson wrote that it “has a dull central plot beefed up by unusual ambition, quirky side characters and maniacal editing. It’s a kooky spectacle, a movie that aggressively cuts from moments of philosophy to violence, from pathos to comedy. Tonally, it’s an ungainly creature. From scene to scene, it lurches like the brain doesn’t know what the body is doing. Garland and Boyle don’t want the audience to know either, at least not yet.”

Screenwriter Alex Garland, left, director Danny Boyle and cinematographer Anthony Dod Mantle, photographed in London in June.

(Jennifer McCord / For The Times)

“28 Years Later” is the first film in a planned trilogy, with the second film, directed by Nia DaCosta, having already been shot.

I spoke with Boyle, Garland, Mantle and Macdonald for a feature story that will be in print on Sunday. Whereas the original “28 Days Later” was notable for its use of consumer-grade digital video cameras, this time the production used modified iPhones to capture most of its imagery. The result is a fresh and distinctive look with both a sense of immediacy and an unexpected beauty.

“What was great about the script is that although you were inheriting some DNA from the original film, it was a completely original story,” said Boyle. “And deserved to be treated like that.”

Cinématographe heads to L.A. theaters

Norm Macdonald, left, and Artie Lange in the 1998 movie “Dirty Work,” recently restored to an extended “Dirtier Cut.”

(Jack Rowand / MGM)

This week the boutique home video label Cinématographe is participating in screenings all over town, further cementing the evolving relationship between physical media and the local revival scene.

Curated and produced by Justin LaLiberty as an offshoot of the Vinegar Syndrome label, Cinématographe is among a handful of companies that create releases meant to look as nice on your shelf as they do onscreen. With beautiful restorations presenting the titles as optimally as possible, the releases come with many extras highlighting their production and what makes them special, alongside new critical essays on the films. Among the titles released by the company so far are John Dahl’s “Red Rock West,” Paul Schrader’s “Touch,” Robert Altman’s “Thieves Like Us” and Martha Coolidge’s “Joy of Sex.”

“Cinématographe has a very specific kind of curatorial approach,” said LaLiberty in a Zoom call this week from his home in Connecticut. “And it also has a mission in that it’s trying to shine a light on these movies that have fallen into obscurity for one reason or another.”

Working in conjunction with the local screening collective Hollywood Entertainment in pulling together some of the local events, LaLiberty got a sense of the current repertory scene in L.A. and hopes that putting on Cinématographe screenings here is something that can become a regular occurrence.

“What I like about L.A.’s cinema scene, without being there, is seeing how the spaces cater to different audiences,” said LaLiberty. “It happens in New York to an extent too, but I’ve noticed it a lot more with L.A. where I think just by virtue of geography, those theaters have to build a community that’s a lot more specific to whatever their mission may be or whatever audience they’re trying to cultivate is. So that’s what I tried to do with these screenings is kind of hone in on what demographic those spaces are going to reach and what film made the most sense for each one.”

The cover art for the Cinématographe home video release of Jim McBride’s 1983 remake of “Breathless.”

(Cinématographe)

On Sunday at Brain Dead Studios there will be a restored 4K screening of the exuberant 1983 remake of “Breathless” with director Jim McBride in person. That will be followed by the Los Angeles premiere of the 4K restoration of Bob Saget’s 1998 comedy “Dirty Work,” starring Norm MacDonald, in its newly created “Dirtier Cut,” which restores the film to a version screened for test audiences before it was chopped down to earn a PG-13 rating. Co-writer Frank Sebastiano will be in attendance.

On Monday, LaLiberty will be at a pop-up at the Highland Park video store Vidéotheque, selling discs from Cinématographe, Vinegar Syndrome and affiliated titles from OCN Distribution — including some that are out of print. (Discs will be on sale at all the events too.)

On Tuesday at Whammy Analog Media, 1994’s essential lesbian rom-com “Go Fish” will show in a 4K restoration with director and co-writer Rose Troche in person. On Wednesday, there will be a 45th anniversary screening at Vidiots of the 4K restoration of Ronald F. Maxwell’s 1980 “Little Darlings,” starring Tatum O’Neal and Kristy McNichol as two teenage girls having a private competition at summer camp to lose their virginity.

On Thursday, in conjunction with Cinematic Void, the Los Feliz 3 will host a showing of John Badham’s 1994 action-thriller “Drop Zone” starring Wesley Snipes, with the director in person.

And while it may seem counterintuitive for a home video label to be encouraging people to go see movies in theaters, for LaLiberty the two go hand in hand.

“My ultimate mission is for these films to find an audience,” LaLiberty said. “‘Little Darlings’ is one of those movies that was out of circulation for so long that now that it’s back and people can find it — to me that’s the work. The end goal is that these films are brought back and that they’re available for people to see and talk about and share. Theaters can play them and have them look great. I don’t see it as cannibalizing. I see it as just being a part of the job.”

‘Rebels of the Neon Millennium’

Shu Qi in Hou Hsiao-hsien’s 2001 film “Millennium Mambo.”

(Kino Lorber)

The American Cinematheque is launching a series looking at films from Southeast Asia made around the turn of the 21st century and shot through with the energy of specific Y2K anxieties. These were films that felt cutting-edge and of the moment when they were released, but now perhaps function at least in part as memory pieces of their time and place. This is a sharp, smartly put-together series that contextualizes a group of films and filmmakers.

Kicking off with Wong Kar-wai’s 1995 “Fallen Angels,” the series also includes Hou Hsiao-hsien’s 2001 “Millennium Mambo,” Tsai Ming-liang’s 1992 “Rebels of the Neon God,” Fruit Chan’s 1997 “Made in Hong Kong,” Shunji Iwai’s 2001 “All About Lily Chou-Chou” Jia Zhangke’s 2002 “Unknown Pleasures” and Lou Ye’s 2000 “Suzhou River.”

Writing about “Fallen Angels” in 1998, Kevin Thomas called it “an exhilarating rush of a movie, with all manner of go-for-broke visual bravura that expresses perfectly the free spirits of his bold young people. … Indeed, ‘Fallen Angels’ celebrates youth, individuality and daring in a ruthless environment that is wholly man-made, a literal underworld similar to the workers’ realm of ‘Metropolis’ — only considerably less spacious. Life proceeds at a corrosive rock music beat.”

Points of interest

‘Dogtooth’ in 4K

An image from Yorgos Lanthimos’ movie “Dogtooth.”

(Kino Lorber)

Greek filmmaker Yorgos Lanthimos’ second feature, “Dogtooth,” was his international breakthrough, winner of the Un Certain Regard section at Cannes and nominated for an Oscar. Yet even its most ardent admirers at the time would likely never have imagined Lanthimos would become the maker of commercially successful, Oscar-winning (and still weird) films such as “The Favourite” and “Poor Things.”

A new 4K restoration of “Dogtooth” will screen at the American Cinematheque at the Los Feliz 3 on Saturday, Tuesday and Sunday the 29th. The story feels abstracted and fractured, as a family lives in comfortable isolation, creating their own rules and language as the parents attempt to keep their children, now young adults, in a state of arrested development.

When it was first being released, “Dogtooth” struggled to find screens in Los Angeles. In my January 2011 review, I referred to it as “part enigma, part allegory and even part sci-fi in its creation of a completely alternate reality.”

When the film had its local premiere as part of the Los Angeles Greek Film Festival some seven months earlier, I spoke to Lanthimos, who perhaps pointed the way to some of his future work when he said, “It’s much more important to me for the audience to be engaged and to think about things themselves. If they miss any information, I’m OK with that instead of explaining every little detail and telling everyone what they should be thinking and how exactly things are.”

Lanthimos added, “People ask me if the film is about home-schooling or if it’s political, about totalitarian states or the information we get from the media. And of course all those things were not in our minds as we were making the film, but it was intentional to make the film so people can come in and have their own thoughts about it.”

‘The Seven Year Itch’ 70th anniversary

Marilyn Monroe and Tom Ewell re-create a scene from 1955’s “The Seven Year Itch” on the Fox Studio Lot on Stage 9.

(Twentieth Century Fox)

On Wednesday the Laemmle Royal will present a 70th anniversary screening of Billy Wilder’s “The Seven Year Itch” introduced by film writers Stephen Farber and Michael McClellan. Starring Marilyn Monroe and Tom Ewell, “Itch” was written by Wilder and George Axelrod, an adaptation of the hit Broadway play that also starred Ewell.

Though the movie does include the iconic scene of Monroe standing over a subway grate, it deserves to be remembered for much more than that. It’s a bracing satire of midcentury masculinity, with Ewell playing a mild-mannered family man who lets himself be taken away by fantasies of what may happen while he is on his own for a summer with a young single woman living upstairs from his New York apartment.

Writing about the movie in June 1955, Edwin Schallert said, “This picture is nothing for the moralists, though it may not quite satisfy the immoralists either, whoever they are.”

In other news

Tom Cruise, Dolly Parton among honorary Oscar recipients

Tom Cruise and Dolly Parton will be honored at the upcoming Governors Awards.

(Evan Agostini / Invision / Charlie Riedel / AP)

This week the motion picture academy announced four honorees for the Governors Awards in November. Dolly Parton will receive the Jean Hersholt Humanitarian Award, while honorary Oscars will go to actor, dancer, choreographer and director Debbie Allen, production designer Wynn Thomas and actor and producer Tom Cruise.

As always, it must be noted how disappointing it is that these awards will be bestowed at an untelevised ceremony and not as part of the Academy Awards telecast itself. The idea of giving an award to Tom Cruise, who has recently refashioned himself as nothing less than an international ambassador for movies and Hollywood in general, and not putting it on TV is just beyond reason.

Here is hoping that Cruise will perhaps be able to do what his co-star in “The Color of Money” Paul Newman once did, which is win a competitive Oscar after already being given an honorary one.

U and U&Drama’s new historical series Outrageous has scored rave reviews, but will the Mitford sisters’ story continue?

The cast of Outrageous are all keen to return for a second series of the gripping historical drama following its premiere this week.

Releasing this Thursday (19th June) on U, U&Drama and BritBox, the six-part first outing follows Nancy Mitford (played by Bessie Carter) and her five sisters’ ascent to notoriety in the 1930s.

While Nancy was becoming a reputable author and journalist, her sisters were either breaking the rules of society or rubbing shoulders with fascists.

After taking off the rose-tinted glasses for a key era of British history, will Outrageous continue the scandalous narrative in a second outing?

Acclaimed star James Purefoy, who portrays the Mitfords’ father, insists: “They’d be mad not to, I think.”

Reach chatted to Purefoy and the rest of the cast at the show’s London premiere, and enthusiasm to continue was high across the board.

“I think it’s a great show and there’s a lot more meat on these bones,” he continued. “We’re only at 1937, with loads more to come.”

Along with Bridgerton star Carter portraying Nancy, the Mitford family is brought to life by a crop of both established stars and new talent to watch out for.

In addition to Anna Chancellor portraying their dedicated mother, Joanna Vanderham and Shannon Watson portray fascist sympathisers Diana and Unity and Isobel Jesper Jones plays Pamela Mitford, who defied gender norms of the time.

Zoe Brough and Orla Hill portray the youngest sisters, Jessica and Deborah and, finally, Toby Regbo portrays the only brother, Tom Mitford.

Jones teases of a potential second season: “There is so much history to cover. It’s the tip of the iceberg, there’s so much more they go on to do.

“Pamela’s story, in particular, is so interesting beyond the 1930s. I really hope that we’ll get to do that. If anything it gets more chaotic and more outrageous.”

And Hill was equally enthusiastic to return, saying: “I would love to.

“I’m desperate to because Deborah starts to come out to society and then had a crazy, teenage… her sweet 16 was pretty [crazy], hanging out with the Kennedys.

“One of the most interesting things about Outrageous is you have all those really famous historical figures that we know just trickling in,” she added.

“Having some of that for my character’s storyline would be really fun.”

From the first episode’s surprise appearance of Winston Churchill (Robert Daws), it’s clear the Mitfords were one of the most well-connected families in Britain during the early 20th Century.

With plenty more history to cover, a second season could feature cameos galore from famous faces as well as plenty more scandalous revelations about the Mitfords.

Outrageous is available to stream on U, U&Drama and BritBox.

In this Monday’s Mirror Daily Digest, we’ve pulled together the biggest stories of the day from Romeo Beckham’s ex speaking out on the famous family feud to one Brit dad’s life-saving flight change and fallout from yesterday’s Soccer Aid

Welcome to the Mirror’s Daily Digest, where we pull together all the best stories of the day from our News, Showbiz, Sport teams and more. This Monday, we’re featuring everything from another development in the Beckham family feud to one dad’s lucky escape from the doomed Air India flight and Soccer Aid drama hitting social media.

This afternoon, Romeo Beckham’s ex girlfriend Kim Turnbull has broken ranks to speak out about the Brooklyn feud that has tormented the family. Elsewhere, a dad has spoken out after a last minute flight change saved his life and Paddy McGuiness has hit out at Carlos Tevez after the Soccer Aid star scored four goals past the TV icon last night.

Romeo Beckham’s ex Kim Turnbull breaks silence on Brooklyn feud and ‘scapegoat’ lies

As the Beckham feud drags on, our showbiz team spotted that Romeo Beckham’s ex-girlfriend, Kim Turnbull, broke her silence on social media this afternoon after being dragged into the bitter family drama. Kim, 26, is said to be at the heart of the Beckham fallout in which eldest child Brooklyn and wife Nicola Peltz, 30, have become estranged.

The DJ is said to have dated Brooklyn before he met billionaire heiress Nicola. However, following weeks of headlines about her and Brooklyn, Kim fumed that she was ’embarrassed by the lies.’

This Monday, Kim took to social media to speak out for the first time on the drama. She said: “I’ve avoided speaking on this topic to prevent adding fuel to the fire, however it’s come to a point where I feel the need to address it so I can move on.”

Read the full story here.

Brit dad meant to be in Air India plane crash survivor’s Seat 11A breaks silence

This Monday, our News team covered one British dad’s lucky escape after a last minute flight change saved his life – he was due on the Air India flight 171 this week. The dad has shared his shock and expressed his gratitude after he changed his plans at the very last minute and has spoken of the very bizarre coincidence with his new booking.

Owen Jackson, 31, from Saffron Walden in Essex, had been in India on a work trip and was scheduled to fly back this week but had to decide between flying back on Thursday or Saturday. In the end his colleagues said to take the Saturday flight as the job would take a bit longer than originally planned.

He was then booked onto the same route on Saturday which would have been the same aircraft as the one which crashed, killing all but one of the 242 people onboard. In a bizarre coincidence, Owen was booked onto seat 11A for the Saturday flight – the seat number belonging to the only survivor of flight 171.

Read the full story here.

Paddy McGuinness hits out at Carlos Tevez ‘assault’ after Soccer Aid

Soccer Aid graced TV screens yesterday evening, raising over £15 million for UNICEF. However, drama over the hotly anticipated match has spilled in to today after former Manchester City ace Carlos Tevez fired four goals past England keeper Paddy McGuinness and fans accused him of forgetting Soccer Aid is for charity.

Paddy McGuinness has now broken his silence after being on the wrong end of the Carlos Tevez masterclass. Taking to Instagram today, Paddy shared a hilarious snap of him and Tevez post-match. Tevez had a huge grin on his face as he and Paddy pointed fingers at each other.

The funnyman wrote alongside it: “Police are looking to contact this man in connection with an assault that took place in the Old Trafford area of Manchester last night.” Viewers at home joked Tevez was approaching the game with the ferocity of a Champions League final.

Read the full story here.

Grooming gangs have ‘nowhere to hide’ Yvette Cooper vows as damning report published

This afternoon, our Politics team were in the Commons to listen to Yvette Cooper’s statement on grooming gangs. The Home Secretary said a “damning” report into grooming gangs found the UK has “lost more than a decade” in protecting children.

The Labour minister told MPs “vile” abusers will have “nowhere to hide” as she vowed to finally bring hundreds of evil predators to justice. She told the Commons the Government will bring in a string of new laws after Baroness Louise Casey unearthed chilling failures.

In a report published this afternoon, Baroness Casey called for a full national inquiry to highlight the harrowing abuse suffered by hundreds of children, and ensure it never happens again. Ms Cooper said: “We have lost more than a decade. That must end now.”

Read the full story here.

Brazen Prince Andrew heads to huge royal event despite King Charles ‘ban’

As Royals gathered for the annual Garter Day this Monday, Prince Andrew was spotted heading to Windsor Castle – despite not being expected to take part in its public procession. The disgraced Duke of York was seen in a shirt and tie driving his car towards the castle for the ancient Order of the Garter ceremony as the Royal Family‘s summer season began in earnest.

The day sees those in the order gather for lunch at the castle before a procession takes place through the castle grounds that sees members dressed in white plumed hats and dark blue velvet robes. Andrew is a member of the order alongside King Charles, Queen Camilla and Prince William and is believed to be joining the annual lunch and investiture, which takes place behind closed doors.

However, he was not expected to take part in the public procession through the castle grounds – having been banished from it for the past four years. Andrew stepped down from public life after the furore over his friendship with convicted sex offender Jeffrey Epstein.

Read the full story here.

READ MORE: Health app helped woman drop four stone in weight without giving up ice cream

Every year, Emmy prognosticators weigh the chances of TV’s newcomers. But what about newcomers that are also old-timers?

Whether you prefer to call them remakes, revivals or reboots, reimaginations of beloved movies and TV shows are all the rage: Think of CBS’ “Matlock,” which swapped in Academy Award winner Kathy Bates for Andy Griffith as a charming lawyer who gets things done in the legal system; Peacock’s “Bel-Air,” which turned a multicam sitcom into a drama; or HBO’s “Perry Mason,” which was less about the courtroom than Mason as private investigator.

When it comes to awards season, though, reboots aren’t such a hot commodity. Max’s “Gossip Girl,” Paramount+’s “Frasier” and ABC’s “The Wonder Years” came and went with no wins, and continuations like NBC’s “Law & Order” and “Will & Grace,” Fox’s “The X-Files” and CBS’ “Murphy Brown” have generally not received the same love from voters as their original runs.

Not all reboots fizzle at the Emmys, though. Here are six examples of rethinks that not only brought back beloved series from the graveyard but made them award-worthy all over again.

‘Shōgun’ (2024-present)

Emmy wins: 18

Anna Sawai in “Shōgun.”

(Kurt Iswarienko / FX)

With 26 nominations and an astounding 18 wins, the premiere season of “Shōgun” is the first Japanese-language series to take home an Emmy for drama series. In addition to the top prize, the adaptation of James Clavell’s 1975 historical novel won awards for stars Hiroyuki Sanada (lead actor, drama) and Anna Sawai (lead actress, drama) plus a raft of below-the-line Emmys. The original miniseries’ take on Clavell’s story of colonialism and war in medieval Japan didn’t do so badly, either — in 1980 it scored 14 nominations and won three Primetime Emmys, including one for limited series.

‘Queer Eye’ (2018-present)

Emmy wins: 11

“Queer Eye” cast members Antoni Porowski, left, Tan France, Jeremiah Brent, Jonathan Van Ness and Karamo Brown.

(Netflix)

The fixer-upper series featuring five gay men zhuzhing up the lives of more staid straights was a phenomenon when it originally aired between 2003 and 2007 but was comparatively overlooked by the Emmys, picking up a win for reality program in 2004 plus three other nominations. Meanwhile, Netflix’s reboot — featuring makeovers of more than just straight guys, and a less snarky sensibility — has earned 11 Emmys to date, including six wins for structured reality program (2018, 2019-23).

‘Westworld’ (2016-22)

Emmy wins: 9

Thandiwe Newton and Aaron Paul in Season 4 of “Westworld.”

(John Johnson / HBO)

“Westworld” stands out on this list because it reimagines a feature film, not an earlier TV series — in this case, the 1973 movie written and directed by Michael Crichton and starring Yul Brynner. The film scored no top-line awards or nominations, but the HBO reboot, which premiered in 2016, landed 54 Emmy nominations and nine wins across its four-season run, including a 2018 trophy for Thandiwe Newton (lead actress, drama) for her performance as the series’ cunning madam, Maeve Millay.

‘One Day at a Time’ (2017-20)

Emmy wins: 3

Justina Machado, left, and Isabella Gomez in “One Day at a Time.”

(Ali Goldstein / Netflix)

The story of a single mom raising her growing daughters earned three nominations during its original run from 1975 to 1984, including one in 1982 for star Bonnie Franklin (lead actress, comedy); director Alan Rafkin and supporting actor Pat Harrington won. The Netflix reboot, which recast the Romanos as the Cuban American Alvarez family and shifted the action from Indianapolis to L.A., was nominated for each of its four seasons and won two, as well as a special Television Academy Honor.

‘Battlestar Galactica’ (2004-09)

Emmy wins: 3

Michael Hogan as Col. Saul Tigh, left, Edward James Olmos as Adm. William Adama, Mary McDonnell as Laura Roslin and Jamie Bamber as Lee “Apollo” Adama in the TV movie “Battlestar Galactica: Razor,” part of the popular Sci-Fi Channel franchise.

(Carole Segal / Sci-Fi Channel)

In the decades between the original 1978-79 “Battlestar” and the full-throttle reboot, science-fiction storytelling on the small screen advanced at lightspeed, which may have helped the latter last far longer than the original. The story of human refugees fleeing space colonies destroyed by Cylon robots (who were now on their tail) earned the original series three nominations and two Emmy wins in below-the line categories. The reboot ended up with three Emmy wins of its own from 19 nominations, though all the wins were for special effects and sound editing. (A 2003 backdoor pilot became a three-hour miniseries and also earned three Emmy nominations.)

‘The Conners’ (2018-25)

Emmy wins: 1

Maya Lynne Robinson, left, Jayden Rey, Michael Fishman, John Goodman, Laurie Metcalf, Sara Gilbert, Emma Kenney, Ames McNamara and Lecy Goranson in “The Conners.”

(Robert Trachtenberg / ABC)

Let’s call this one an unplanned reboot. After ABC canceled its 2018 “Roseanne” revival due to star Roseanne Barr’s public flameout, the quick-thinking network teed up “The Conners,” which follows the titular family after its matriarch’s untimely death. Falling somewhere between a traditional revival and a full-on reboot, “The Conners” hasn’t matched the original “Roseanne’s” Emmy haul, which included 25 nominations and four wins (three for Laurie Metcalf and one for Barr). But the series, which recently concluded its own seven-season run, has performed solidly with voters, earning six nominations and one win in 2021 for editing in a comedy series.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Among this week’s new releases is “Materialists,” a romantic dramedy starring Dakota Johnson, Chris Evans and Pedro Pascal, written and directed by Celine Song, whose debut, “Past Lives,” was nominated for two Oscars, including best picture. Johnson’s beguiling screen presence, her languidly charged charisma, is put to full use as a professional matchmaker in NYC who finds her own cold calculations challenged when she finds herself struggling to decide between a wealthy, perfect-on-paper finance guy (Pascal) and a perpetually struggling actor ex-boyfriend (Evans).

I interviewed Song and Johnson together recently, talking to them about how the film is both a sleek and glossy modern take on the rom-com and also an interrogation of the form and what people want from romance.

“We’re not just showing up here to be in love and beautiful and get to be in a rom-com,” says Song. “We’re also going to take this opportunity to talk about something. Because that’s the power of the genre. Our favorite rom-coms are the ones where we get to start a conversation about something.”

Dakota Johnson, left, and “Materialists” director Celine Song at the London Hotel in West Hollywood.

(Christina House / Los Angeles Times)

For her part, Johnson has turned down many rom-com roles in the past, but found something different in Song’s screenplay.

“The complexities of all of the characters,” Johnson said of what made the project stand out. “The paradox. Everyone being confused about what the f— they’re supposed to do with their hearts. And what’s the right move? I found that very honest and I found it just so relatable.”

Amy Nicholson opens her review by focusing on the film’s lead, writing, “Dakota Johnson is my favorite seductress, a femme fatale of a flavor that didn’t exist until she invented it. … Onscreen, she excels at playing skeptics who are privately amused by the shenanigans of attaching yourself to another person. She shrugs to conquer. Which makes Johnson the perfect avatar for a time when it’s hard to commit or keep swiping right.”

‘One Flew Over the Cuckoo’s Nest’ in 4K

Jack Nicholson, center, in 1975’s “One Flew Over the Cuckoo’s Nest.”

(Michael Ochs Archives / Getty Images)

On Friday the Academy Museum will present the North American premiere of a new 4K restoration of Milos Forman’s 1975 “One Flew Over the Cuckoo’s Nest.” The film won five Oscars, including best picture, director and actor, and the screening will include a conversation with editors Richard Chew and Lynzee Klingman, speaking with Larry Karaszewski.

Based on the novel by Ken Kesey, the film tells the story of Randle McMurphy (Nicholson), who is committed to a mental institution instead of serving a prison sentence. McMurphy’s rebellious, anti-authoritarian spirit upends the strict order of the facility maintained by Nurse Ratched (Louise Fletcher, who also won an Oscar for her performance), as he comes to connect with some of the other inmates, many of whom are there voluntarily.

The Times’ original review at the time said that the film “is calculated to restore your faith in the discipline and the emotional effectiveness of inspired fine moviemaking.”

A February 1976 profile of Forman by Fiona Lewis found the filmmaker, already a two-time Academy Award nominee for his films made in Czechoslovakia, in a rented house in the Hollywood Hills anxiously awaiting the impending Oscar nominations.

“All these events, like film festivals and Oscars — it’s foolish to compare if this film is better than that film,” Forman said. “But on the other hand, why not? It’s like my child is the most beautiful in the world and the girl I love the best.”

Roberto Minervini retospective

Roberto Minervini’s 2024 film “The Damned” will screen Friday night at the Acropolis Cinema to kick off a series retrospective on the director.

(Grasshopper Film)

The Acropolis Cinema screening series begins a retrospective of the Italian-born, U.S.-based filmmaker Roberto Minervini Friday night with the Los Angeles premiere of his 2024 film “The Damned” at 2220 Arts + Archives. The filmmaker will be there for a Q&A moderated by “Eephus” director Carson Lund.

Minervini won the directing prize in the Un Certain Regard section of the 2024 Cannes Film Festival for the movie, which follows a company of volunteer U.S. soldiers in the Civil War as they are sent to patrol a remote borderland. “The Damned” will also open at the Laemmle Royal on the June 20.

Minervini will be present for a screening at Brain Dead Studios on Saturday for the world premiere of a new restoration of his 2011 debut feature “The Passage.” Critic Peter Debruge will moderate the Q&A.

Then on Sunday, Minervini will be present for a Q&A moderated by critic Tim Grierson following a 10th anniversary screening of “The Other Side” at 2220 Arts + Archive. On June 23, there will also be a screening of Minervini’s 2018 film “What You Gonna Do When the World’s On Fire?” back at Brain Dead Studios.

Points of interest

‘Bring It On’ 25th anniversary in 35mm

Kirsten Dunst, left, and Eliza Dushku in the movie “Bring It On.”

(Ken Jacques / Universal Studios)

Following the recent screening of Sofia Coppola’s “The Virgin Suicides,” the Academy Museum will present another pivotal film in the career of Kirsten Dunst: a 25th anniversary 35mm screening of Peyton Reed’s “Bring It On.” Actors Jesse Bradford and Brandi Williams will be present for the event as well.

Displaying Dunst’s range, she stars as Torrance Shipman, the new captain of the cheerleading squad at her affluent suburban California high school. Torrance discovers that their championship routines have been stolen from the squad of a less privileged all-Black school. Reed, who went on to direct “Down With Love,” “The Break-Up” and Marvel’s “Ant-Man” movies, deftly balances teen comedy, emotional nuance and social satire with a spirited energy.

After calling it “a smart and sassy high school movie that’s fun for all ages” in his original review, Kevin Thomas noted how the film “has a light satirical touch, works up lots of laughter, but is not heavy-handed about Torrance and her squad taking cheerleading so seriously. Rather than lament how winning a cheerleading trophy seems vastly more important to the squad members than getting the grades that will get them into college, [screenwriter Jessica] Bendinger and Reed instead show us the likable Torrance and her pals receiving some unexpected life lessons.”

‘Christiane F.’ 4K restoration

The American Cinematheque will launch a limited run of the new 4K restoration of “Christiane F.” (1981), starring Natja Brunckhorst.

(Janus Films)

On Friday, the American Cinematheque will launch a limited run of the new 4K restoration of Uli Edel’s 1981 “Christiane F.” Based on a nonfiction book, the story depicts a teenage girl, Christiane (Natja Brunkhorst), in West Berlin who falls in with a crowd of kids who introduce her to using hard drugs and she soon becomes a heroin addict, living a hardscrabble life on the streets. Featuring music by David Bowie, the film also includes a live performance by Bowie of the song “Station to Station.”

In a February 1982 review, Kevin Thomas wrote, “The makers of ‘Christiane F.’ apparently feel that it is sufficient to dramatize this hellish odyssey with the utmost realism, sparing us nothing, not the sickness, the brutality, the pain or the sheer sleaziness of their existence. But it isn’t, because they don’t reveal anything that many adults and teens don’t know well. … [The filmmakers] go for an unremitting grittiness so as not to seem unduly sensational or exploitative in the telling of Christiane’s story.”

‘Cobra Woman’ in 35mm

The original poster for “Cobra Woman,” featuring Maria Montez. The movie screens Saturday at the Los Feliz 3.

(LMPC via Getty Images)

On Saturday afternoon at the Los Feliz 3, the American Cinematheque will present a 35mm screening of Robert Siodmak’s 1944 beloved cult object “Cobra Woman,” starring Maria Montez, Jon Hall and Sabu in a tale of twin sisters, kidnapping and a remote island paradise. Author Alonso Duralde will be on hand to introduce the film and do a signing for his new book “Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film.”

In a program note for the screening, Duralde noted Susan Sontag’s influential essay “Notes on Camp,” adding “for a look at ‘pure camp,’ there’s no better place to start than the 1944 Maria Montez vehicle ‘Cobra Woman,’ a deliciously over-the-top exercise in exotica, colonial fetishization and general absurdity. (The trailer calls it ‘A Pagan Sensation!’) Montez stars as twin princesses — one good, one evil, both in love with strapping Jon Hall — in a tale that incorporates volcanoes, blowguns, Sabu, a forbidden dance of the snakes and a valuable stone that Montez memorably calls the ‘Cobra jool.’” The film was also said to be the favorite of filmmaker Kenneth Anger.

A February 1944 Los Angeles Times column by Hedda Hopper explored how Montez pursued stardom with shrewdly calculated verve, writing, “Outstanding among today’s feminine stars who have projected their personalities — and persons — to fullest advantage is Maria Montez. Two years ago this Latin-American bundle of nerve and determination struck Hollywood like a one-woman avalanche, announcing to Universal that she would be satisfied with nothing short of top-flight stardom and swamping the studio’s production office with demands for starring roles.”

‘Naked Lunch’ with Peter Weller

Actor Peter Weller, left, and author William Burroughs, right, on the set of David Cronenberg’s “Naked Lunch.” The movie will screen Monday at Vidiots.

(Jean-Louis Atlan / Sygma via Getty Images)

On Monday, Vidiots will show David Cronenberg’s 1991 adaptation of William S. Burroughs’ “Naked Lunch” in 4K with star Peter Weller in attendance to sign his new book “Leon Battista Alberti in Exile.”

Rather than strictly adapt the book itself, Cronenberg used fragments and shards of its story and Burroughs’ own biography to craft a phantasmagorical take on the novel’s own creation: An exterminator, Bill Lee (Weller), flees New York for the Interzone after he accidentally shoots his wife (Judy Davis) and sets himself to writing.

In a review from December 1991, Peter Rainer wrote, “There are enough references to the novel, enough episodes and characters, to provide a glancing resemblance to the original. But mostly, Cronenberg jacks up his own career-long obsessions with glop and grunge and decay to fever pitch. It’s a movie for people who really dig Cronenberg’s mulchy fixations — and probably for no one else. … The ambi-sexual atmosphere carries a demonic charge that approximates Burroughs but, for the most part, Cronenberg was a lot closer to the Burroughs ethos in a film like ‘Videodrome’ than he is here.”

In a June 1992 profile of Cronenberg by Gene Seymour, the filmmaker, then 47, spoke about how he approached adapting a book many assumed to be unadaptable.

“I do think it’s paradoxical but true that, in order to be faithful to the book, you have to throw the book away,” said Cronenberg. “You have to betray it in order to re-create it for the screen. All the attempts I’ve seen of trying to be literally faithful to the book have been dismal failures and the reason is only that the two media are totally, totally different. Maybe it’s because I’m really ruthless. And totally arrogant.”

In a statement, Burroughs himself said, “I felt, and still feel, that David’s script is very true to his own Muse as a filmmaker, very consistent with the high level of artistry for which he is known.”

The Television Academy first embraced Sterling K. Brown nine years ago and has kept him in a loose side hug ever since. Brown’s a contender for lead actor in a drama for his role as a Secret Service agent in “Paradise,” a Hulu thriller that reunites Brown with “This Is Us” creator Dan Fogelman.

10

Emmy nominations Brown has received across …

6

Different projects, including for narrator (“Lincoln: Divided We Stand”) and character voice-over (“Invincible”).

2

Brown’s first two wins came in back-to-back years — for supporting actor in a limited series in 2016, as prosecutor Christopher Darden in “The People v. O.J. Simpson,” and lead actor in a drama series in 2017 for his performance as Randall in NBC’s big-feelings family saga “This Is Us.”

3 x 2

Brown has received two nominations in a single year three times: 2018, 2020, 2021.

4

The Screen Actors Guild Awards also love Brown, who has won four times from 11 nominations, including …

2019

Twice in one year as part of both the winning film (“Black Panther”) and TV drama (“This Is Us”) ensembles.

1

Brown received his first Oscar nomination in 2024 for his supporting role as the hedonistic, hurting brother of Jeffrey Wright’s novelist in “American Fiction.”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

We are pleased to exclusively announce that the Egyptian Theatre will host the U.S. premiere of the new 4K restoration of Charlie Chaplin’s “The Gold Rush” on June 26, the 100th anniversary of the film’s premiere at that same venue in 1925.

The restoration premiered as part of the Cannes Classics section at the recent Cannes Film Festival. On June 26, the restoration will screen in more than 70 countries, with the Egyptian being the exclusive engagement in the U.S. Film historian Jeffrey Vance, author of the 2003 book “Chaplin: Genius of the Cinema,” will introduce the screening. Reproductions of the original film program will be available for 25 cents, the same price that it cost in 1925.

An image from Charlie Chaplin’s “The Gold Rush.”

(Roy Export Company Ltd.)

“The Gold Rush” features Chaplin in his iconic Little Tramp character, searching for his fortune prospecting for gold, and features some of his most famous moments on-screen. The restoration, carried out by Cineteca di Bologna and L’Immagine Ritrovata, draws from materials sourced from archives all around the world, including the BFI Archive, George Eastman Museum and the Museum of Modern Art.

Tickets are now available at egyptiantheatre.com.

‘Clueless’ turns 30 at the Academy

Stacey Dash, left, and Alicia Silverstone in the movie “Clueless.”

(Paramount Pictures)

On Saturday the Academy Museum will present a 30th anniversary screening of “Clueless” in 35mm, with director Amy Heckerling, actors Alicia Silverstone, Elisa Donovan and Breckin Meyer, costume designer Mona May and casting director Marcia Ross all scheduled to attend for a Q&A.

Written by Heckerling, the film is a loose adaptation of Jane Austen’s “Emma” relocated to affluent 1990s Beverly Hills. Cher Horowitz (Silverstone), a popular and fashionable teenager, sets about playing matchmaker for a new classmate, Tai (Brittany Murphy), enlisting her best friend Dionne (Stacey Dash) to help. Paul Rudd, in his feature debut, plays Cher’s stepbrother.

In his original review, Kenneth Turan called the film “a wickedly funny teen-age farce from writer-director Amy Heckerling that, like its heroine, turns out to have more to it than anyone could anticipate. … Put together with verve and style, ‘Clueless’ is a sweet-natured satire of L.A.’s over-pampered youth that gets more fun out of high school than most people had attending it.”

Director Amy Heckerling, second from left, on the set of “Clueless.”

(Paramount Pictures)

In the summer of 2020, Justin Chang interviewed Heckerling, who spoke about writing Cher’s voice-over narration and getting into the mind of the character by saying, “Once you get into her head, then it just goes. It’s not the voice of God. It’s the voice of that person. And you get into it, and it’s not necessarily what the writer needs — it’s what the writer wants you to think that person is thinking. And that’s a lot of fun to do. It’s like, as a writer, you’re also playing a character.”

The “Clueless” screening opens a series on teen movies that will run through July 10. Other titles include “Bring It On,” “Ferris Bueller’s Day Off,” “Adventures in Babysitting,” and “Saved!” all in 35mm, along with “Napoleon Dynamite,” “Dope,” “Love, Simon” and “10 Things I Hate About You.”

‘The Incredibly True Adventure of Two Girls in Love’

Nicole Parker, left, and Laurel Holloman in the movie “The Incredibly True Adventure of Two Girls in Love,” directed by Maria Maggenti.

(Alyson Levy / Fine Line Features)

Also on Saturday will be another 35mm 30th anniversary screening, with the UCLA Film & Television Archive showing writer-director Maria Maggenti’s “The Incredibly True Adventure of Two Girls in Love.” A charming example of ’90s indie filmmaking, the movie follows the burgeoning relationship between Evie (Nicole Parker) and Randy (Laurel Hollomon), two girls from opposite sides of the tracks who shouldn’t particularly even be friends, let alone romantically drawn to each other.

In his original review of the film, Peter Rainer wrote, “The experience of first love is a movie perennial but rarely is it believably rendered. The best thing going for ‘The Incredibly True Adventure of Two Girls in Love’ — an amateurish, sweet, little piddle of a movie — is that it captures a bit of the freshness, and the awkwardness, of the moment. … They seem like real people, and so their budding romance strikes a few remembered chords.”

In a June 1995 profile of Maggenti by Chris Riemenschneider, the filmmaker talked about her inspirations in making the film.

“I didn’t make a niche-market film,” Maggenti said. “It wasn’t about ‘Let’s make a lesbian film, and a bunch of lesbians will go see it.’ I wanted to make a film that people would enjoy, a film about an authentic human experience, and it happens to be with someone of the same sex.”

Points of interest

‘Death Becomes Her’ in 35mm

Goldie Hawn, left, and Meryl Streep in the movie “Death Becomes Her.”

(Deana Newcomb / Universal Pictures)

On Sunday the Academy Museum will host a 35mm screening of Robert Zemeckis’ 1992 “Death Becomes Her,” starring Meryl Streep, Goldie Hawn, Isabella Rossellini and Bruce Willis. Made with still-dazzling special effects work that should look spectacular in the Academy’s David Geffen Theater, the film is about two women who go to great lengths to maintain their youthful appearance, including competing for the romantic affections of a top plastic surgeon.

In his original review of the film, Kenneth Turan wrote, “‘Death’ gets progressively darker and darker, forgetting all about humor in its attempts to push the more mordant limits of its story. The three principals are game enough about all this, soldiering on until the end, but their characters, not having much to do that they haven’t done before, tend to sound the same single notes they have since Frame One.

“There is something regrettable in all this, because by industry standards this picture does take a few risks, and few enough pictures in today’s Hollywood take any at all. But even though ‘Death Becomes Her’ has no fear of being out on the edge, brazenness alone is no guarantee of success.”

The film is screening as part of a “Summer of Camp” series, that will also include “Valley of the Dolls,” “Sleepaway Camp,” “Flash Gordon,” “The Birdcage,” “Lifeforce,” “Serial Mom,” “Disco Godfather,” “To Wong Foo, Thanks for Everything! Julie Newmar,” “Showgirls” and “Drop Dead Gorgeous” all in 35mm prints, plus “Batman & Robin,” “But I’m a Cheerleader” and more. There will also be triple features of the “Austin Powers” movies and titles starring Joan Crawford and Elizabeth Taylor.

Shock-A-Go-Go Film Festival

A poster for the Shock-A-Go-Go Film Festival.

(Shock-A-Go-Go Film Festival)

The Shock-A-Go-Go Film Festival will settle into the Lumiere Cinema at the Music Hall on Saturday and Sunday. The highlight of this year’s program will be the Saturday screenings of 1978’s “Piranha” and 1981’s “The Howling,” with director Joe Dante and star Belinda Balaski present for both. Dante is a masterful storyteller and unflinching in his recollections. Any opportunity to hear him talk is worth taking.

Among the finest examples of the Roger Corman school of filmmaking (rooted in low-budget genre filmmaking but reaching unexpected heights), both “Piranha” and “The Howling” were written by John Sayles, who would go on to a notable career as a filmmaker in his own right.

Also on Saturday will be will be a screening of “Hellbound: Hellraiser II” with writer Peter Atkins and director Tony Randel present, as well as “Return of the Living Dead 3” with director Brian Yuzna in person. Yuzna’s 1989 cult classic “Society” will also show.

‘Personal Best’ and ‘Star 80’

Mariel Hemingway in January 1982.

(Lennox McLendon / Associated Press)

The New Beverly is featuring a double-bill of movies starring Mariel Hemingway on Monday and Tuesday: Robert Towne’s 1982 “Personal Best” and Bob Fosse’s “Star 80” from 1983.

“Personal Best” was the directorial debut for the Oscar-winning “Chinatown” screenwriter Robert Towne, who died in July of last year. The film stars Hemingway as a rising track star who falls in love with an older athlete, played by real-life Olympic track and field athlete Patrice Donnelly. Both are training for the 1980 Olympics. The film was noteworthy at the time for its frank depiction of a lesbian relationship, as well as its focus on the athletes at work.

A January 1982 profile of Towne by Dale Pollack found him in a suite at the Westwood Marquis Hotel (now the W) “filled with typewriters, phones, vodka bottles and stacks of yellowing newspapers.”

In a sign of the moment (and mindset) in which he was making it, Towne took some objection to classifying “Personal Best” as a gay-themed film, saying, “I don’t think in any way this is a lesbian or homosexual movie. What I’m interested in is how you deal with a society that encourages competition, and still care about other people. These two women are in love with each other. In order to place emphasis on who they’re making love to, you have to show it. But there are only two minutes of sex in the film; there are two hours of competition.”

I know I’ve talked about Bob Fosse and “Star 80” around these parts a number of times before, but for me it always rates a mention. Thinking of the film specifically in relation to “Personal Best” is worthwhile, as both films meditate on the use and meaning of women’s bodies.

Few films are as unsparing and dispiriting in their depiction of the star machinery of Hollywood as “Star 80.” Hemingway plays Dorothy Stratten, the Playboy Playmate turned actor who was brutally murdered by her ex-husband and manager, played with psychotic commitment by Eric Roberts.

In her original review of the film, Sheila Benson called it “creepy” and added, “Worst of all, there is a feeling of complicity that is not far from voyeurism that you get as part of ‘Star 80’s’ audience, sitting through the increasingly morbid tightening of the story.”

In other news

People gather outside the Gardena Cinema in 2023.

(Mel Melcon / Los Angeles Times)

Two local theaters are finding unique ways to support their communities this summer. Vidiots is launching Movie Den, a program of tween and teen-centric matinees focused on engaging a new generation of film lovers. Underwritten by Mubi and Golden Globe Foundation, screenings will take place in the venue’s microcinema. Tickets are $2 and popcorn is free. Titles in the program include “Scott Pilgrim vs. the World,” “Princess Mononoke,” “Rear Window,” “La Bamba,” “Hairspray,” “The Half of It,” “Hot Rod” and more.

In a statement, Maggie Mackay, executive director of Vidiots Foundation, said, “As a mom to teens and a member of a community that has been through so much this year, it was important to me and our team that we try to make what we know will be a hard summer for so many a little easier, by expanding programming with an intention to get us out of the house, off devices and reconnected.”

The Gardena Cinema, the last family-run independent single-screen indoor movie theater in South Los Angeles, will have free screenings this weekend as part of Pluto TV’s Free Movie Weekend at indie movie theaters across the country. Oscar-winning filmmaker Sean Baker — who did a Times interview from the Gardena last year and appeared there again just last weekend — has partnered with Pluto TV to support their program.

Screening for free at the Gardena this weekend will be “Grease,” “Saturday Night Fever” and 1984’s “Ghostbusters.”

The Emmys’ limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year’s crop of contenders is no exception.

The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix’s “Monsters: The Lyle and Erik Menendez Story”; Renée Zellweger, who reprises her role as the British romantic heroine in “Bridget Jones: Mad About the Boy”; Stephen Graham, who co-created and stars in “Adolescence” as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX’s “Dying for Sex”; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+’s “Dope Thief”; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video’s “The Better Sister”; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+’s “Disclaimer.”

The Times’ news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above.

The 2025 Limited Series / TV Movie Roundtable: Elizabeth Banks, left, Sacha Baron Cohen, Jenny Slate, Javier Bardem, Brian Tyree Henry, Renée Zellweger and Stephen Graham.

Many of you move between drama and comedy. People often think, “Drama’s very serious and difficult, comedy’s light and easy.” Is that true?

Banks: I think the degree of difficulty with comedy is much higher. It’s really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that’s unrequited. Not everybody has great timing or is funny or gets satire.

Henry: There’s something fun about how closely intertwined they are. In my series, I’m playing a heroin addict running for my life, and I have this codependency with this friend … There’s a scene where I’ve been looking for him, and I’m high out of my mind, and I find him in my attic, and all he’s talking about is how he has to take a s—. And I’m like, “But they’re trying to kill us.” You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you’re just terrified for both. There’s always humor somewhere in the drama.

Banks: There’s a reason why the theater [symbol] is a happy face/sad face. They’re very intertwined.

Renée Zellweger of “Bridget Jones: Mad About the Boy.”

Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with “Mad About the Boy”?

Zellweger: Nobody’s the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It’s been a really interesting sort of experiment to revisit a character in the different phases of her life.

What I’m really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don’t have to pretend that I’m less than I am, because I don’t want to be the character that I was, or played, when she was 29, 35. I don’t want to do that, and I certainly don’t want to do that now.

So it was really nice to meet her again in this place of what she’s experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what’s important and all of that, because, of course, I relate to that in this moment.

Stephen, “Adolescence” follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you?

Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, “Cut,” all of us older actors and the crew were very emotional. There were hugs and a bit of applause.

And then everyone would be like, “Where’s Owen?” [Cooper, the teenage actor who plays Graham’s character’s son]. “Is Owen OK? Is he with his child psychologist?” No, Owen’s upstairs playing swing ball with his tutor. It was like OK, that’s the way to do this — not to take myself too seriously when we say, “Cut,” but when I am there, immerse myself in it.

Let’s be honest, we can all be slightly self-obsessed. My missus, she’s the best for me because I’d phone her and say, “I had a really tough day. I had to cry all day. My wife’s died of cancer, and it was a really tough one.” She goes, “The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They’ve let the kids out of school early because there’s been a flood. And you’ve had a hard day pretending to be sad?”

Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, “Action,” and when you’re out, you just leave it behind. Otherwise, it’s too much.

Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn’t make you a better actor to really stay in character, as they say, for 24 hours. That doesn’t work for me. It actually makes me feel very confused if I do that.

On the show “Monsters” I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job.

Elizabeth Banks of “The Better Sister.”

Elizabeth, in “The Better Sister,” you portray Nicky, a sister estranged from her sibling who’s been through quite a bit of her own trauma.

Banks: I play a drunk who’s lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she’s trying not to bring forward. She’s been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she’s also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There’s a lot going on. And there’s a murder mystery.

I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you’ve got to find it, but I don’t need to then infect my own children with it.

Sacha Baron Cohen of “Disclaimer.”

Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in “Disclaimer,” he’s not a character you created, but he is very understated. Was that a challenge?

Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], “I don’t understand why this guy goes on that journey from where we see him in Act 1.” For me it was, how do you make this person unique?

We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, “Take it down.” And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife.

Jenny Slate of “Dying for Sex.”

Jenny, “Dying for Sex” is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief.

Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it’s unjust. [And she’s] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end.

I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I’m at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, “Siri, set a meditation timer for 10 minutes,” and making myself do alternate nostril breathing [exercises].

Brian Tyree Henry of “Dope Thief.”

Brian, many people came to know you from your role as Paper Boi in “Atlanta.” The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects?

Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that’s the greatest compliment … When I did “Bullet Train,” I was shocked at how many people thought I was British. I was like, “Oh, right. Now I’ve twisted your mind this way.” I was [the voice of] Megatron at one point, and now I’ve twisted your mind that way. My path in is always going to be stretching people’s imaginations, because they get so attached to characters that I’ve played that they really believe that I’m that person.

People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there’s 90 different things that are put on me or taken away from me because of how I look and how I carry myself.

Javier Bardem of “Monsters: The Lyle and Erik Menendez Story.”

Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents.

Bardem: I don’t think anybody knows. That’s the point. That was the great thing about playing that character, is you have to play it in a way that it’s not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable.

I did say to Ryan [Murphy] that I can’t do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, “I can’t. It’s not needed.” The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That’s not in my nature.

Henry: I discovered, while doing my series, “My body doesn’t know this isn’t real.” There’s an episode where I’m shot in the leg, and I’m bleeding out and I’m on all this different morphine and drugs and all this stuff, and I’m literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain … in the middle of the takes, it was just so crazy. I would literally look at the crew and say, “Somebody hug me! Somebody!”

Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, “Oh, my God, how many times did he have to do that?” This kid gets in your face, and I was like, “Punch the kid!” My heart went out to you, man, not just as the character but as you being in there.

Graham: Because we did it all in one take, we had that unique quality. You’re using the best of two mediums. You’ve got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we’ve been through all those emotions. When I open the door and go into [Jamie’s] room, everything’s shaken. But it’s not you. It’s an out-of-body experience and just comes from somewhere else.

Bardem: Listen, we don’t do brain surgery, but let’s give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we’re telling.

What have been some of the more challenging or difficult moments for you, either in your career or your recent series?

Zellweger: Trying not to do what you’re feeling in the moment sometimes, because it’s not appropriate to what you’re telling. That happens in most shows, most things that you do. I think everybody experiences it where you’re bringing something from home and it doesn’t belong on the set. It’s impossible to leave it behind when you walk in because it’s bigger than you are in that moment.

Banks: I would say that the thing that I worked on the most for “The Better Sister” was [understanding] sobriety. I’m not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they’re incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that’s what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts.

Stephen Graham of “Adolescence.”

Stephen, about the continuous single shot. It seems like it’s an incredibly difficult and complex way to shoot a series. Why do it?

Graham: It’s exceptionally difficult, I’m not going to lie. It’s like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It’s a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves.

Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. … I did a scene where I’m wearing a bulletproof vest. There were a lot of the people in the audience who’d gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you’ve got to do the scene. You’ve got one time to get the scene right. But you also go, “OK, those guys have got guns. They’re trying to storm the stage. I haven’t quite finished the scene. When do I leave?” But you’ve got to get the scene. I could get shot, but that’s not important.

Henry: There’s a certain level of sociopathy.

Slate: I feel like I’m never on my mark, and it was always a very kind camera operator being like, “Hey, Jenny, you weren’t in the shot shoulder-wise.” I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of “I’m a fool and my foolishness is going to make people incredibly angry with me.” And then really still wanting to participate and having no real certainty that I’m going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again.

Do you see yourself in roles when you’re watching other people’s films or TV show?

Graham: At the end of the day, we’re all big fans of acting. That’s why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations.

We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It’s people that are here for the right reasons. It’s a collective. Acting is not a game of golf. It’s a team. It’s in front and it’s behind the camera. I think it’s important that we nourish that.

Henry: And remember that none of us are t—.

Bardem: What is a t—? I may be one of them and I don’t know it.

Graham: I’ll explain it to you later.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Following its recent premiere at the Cannes Film Festival, “The Phoenician Scheme,” the new film by Wes Anderson, opens in Los Angeles this weekend. Each new Anderson picture still feels like something of an event, simply because it is so fun to see what he is up to this time, what idiosyncratic subset of the world will he explore and make his own.

Personally, I have been taken with how densely packed his last few films have become. “The French Dispatch” and “Asteroid City” had a layered approach to storytelling that took some time to fully unpack. So it is likely “The Phoenician Scheme” has yet to reveal itself, in need of some extended unraveling of its energetic story of an ambitious 1950s international businessman, Anatole “Zsa-zsa” Korda (Benicio del Toro, who we spoke to for our summer preview), and his estranged daughter, Liesl (Mia Threapleton), on an a series of business deals. The cast, typical for Anderson, is packed, also including Michael Cera, Scarlett Johansson, Jeffrey Wright, Mathieu Amalric, Tom Hanks, Bryan Cranston, Richard Aoyade, Riz Ahmed, Charlotte Gainsbourg and many more. (Never fear, Willem Dafoe and Bill Murray are in there somewhere.)

Mia Threapleton and Benicio del Toro in the movie “The Phoenician Scheme.”

(TPS Productions / Focus Features)

In a review of the film, Amy Nicholson wrote, “Lately, Anderson has been on a tear of using his perfectionist aesthetic to defend the act of ambition itself — to honor artisans who create masterpieces in a world of philistines. The only thing he loves more than a carved credenza (and here, they’re decorated with hieroglyphics) is the craftsperson who made it and the aesthete who bought it, instead of settling for something disposable. I was never a fan of Anderson’s until ‘The Grand Budapest Hotel’ clicked him into focus. It was hard to believe he knew what he was talking about when his earlier movies tried to sell us on love between human beings. But a hotelier’s love of his linens? That I’ll buy.”

Amy added, “It’s not that you have to believe that there is a force out there more powerful than Zsa-zsa, or heck, even money itself. But if that doesn’t move you, at least Anderson deserves reverence for negotiating how to get all these A-list talents to act in his movie for peanuts. He’s managed to build yet another dazzler, a shrine to his own ambition and craft. And while it sometimes feels a bit drafty in the corners, the accomplishment itself is plenty.”

‘Bleak Week’ goes worldwide

Thomas Jane in an image from the black-and-white director’s cut of Frank Darabont’s 2007 horror movie “The Mist,” coming to “Bleak Week.”

(MGM)

The fourth edition of the American Cinematheque’s “Bleak Week: Cinema of Despair” program begins Sunday with screenings at all three of its local venues through Saturday, June 7. Having already expanded to the Paris Theatre in New York last year, “Bleak Week” is now spreading to several more cities and venues: the Hollywood Theatre in Portland, Ore.; the Music Box Theatre in Chicago; the Texas Theatre in Dallas; Trylon Cinema in Minneapolis; Coolidge Corner Theatre in Boston; and the Prince Charles Cinema in London.

“We look to expand our never-ending film festival whenever possible,” said Grant Moninger, artistic director of the American Cinematheque, via email, of the program’s ongoing expansion.

This year’s series will open with a 35mm screening of Akira Kurosawa’s 1952 “Ikiru” at the Egyptian Theatre introduced by Bill Hader. French filmmaker Claire Denis will be present for screenings of a handful of her titles, including a 35mm presentation of 2001’s “Trouble Every Day” with a Q&A moderated by Barry Jenkins.

Brady Corbet and Mona Fastvold will be present for a tribute, including films they have made together and Corbet’s separate acting work. To be screened: Michael Haneke’s “Funny Games,” Lars von Trier’s “Melancholia,” Fastvold’s “The World to Come” and Corbet’s “The Childhood of a Leader” and “Vox Lux.”

Other “Bleak Week” highlights include John Hillcoat’s 2005 “The Proposition” with a Q&A with the filmmaker and cast, Michael Curtiz’s 1950 “The Breaking Point” in 35mm and Carl Theodor Dreyer’s 1943 “Day of Wrath” screened from a nitrate print.

What may once have seemed a slightly cracked idea has grown into one of the Cinematheque’s signature programs. And there is no end in sight.

“After year one, which had 33 films, we had the worry that maybe we would have no titles left for next year — if there even was a second edition,” said Chris LeMaire, senior film programmer, via email. “But each time we start programming the next ‘Bleak Week,’ there seem to be endless possibilities.”

“Our lineup this year in L.A. has 55 films and we probably cut another 50 titles from our initial list,” added LeMaire. “Across all the venues, ‘Bleak Week’ includes over 100 titles this year, from all corners of the world and all eras of cinema history, from as early as 1919 to 2025. We’re never going to run out because many of the greatest films deal with the human condition, which naturally leads to some difficult truths.”

Brad Pitt in the movie “Moneyball.”

(Sony Pictures)

Alan Arkin’s 1971 “Little Murders” will screen in 35mm with a Q&A with star Elliott Gould moderated by screenwriter Larry Karaszewski. A screening of the black-and-white director’s cut of 2007’s “The Mist” will be followed by a Q&A with filmmaker Frank Darabont and actor Thomas Jane. Filmmaker Costa-Gavras and producer Michèle Ray-Gavras will be present for a double-bill of 1982’s “Missing” and 1970’s “The Confession.” Actor Gabriel Byrne will be at a 35th anniversary screening of Joel and Ethan Coen’s 1990 “Miller’s Crossing.”

I will be moderating a Q&A with Gus Van Sant following a screening of “Last Days.” There will also be the U.S. premiere of a 4K restoration of “Christiane F.” and the West Coast premieres of 4K restorations of “Withnail and I,” “Forbidden Games,” “The Sweet Hereafter” and “Happiness.” (A Q&A for “Happiness” will feature performers Lara Flynn Boyle and Camryn Manheim, moderated by Vera Drew.)

Where downbeat entries like Mark Romanek’s “Never Let Me Go,” Ryan Coogler’s “Fruitvale Station,” Narcisco Ibáñez Serrador’s “Who Can Kill A Child?” or Elem Klimov’s “Come and See” more obviously fall within the thematic concept of “Bleak Week,” titles such as Bennett Miller’s “Moneyball” or Boaz Davidson’s “The Last American Virgin” do not make such an apparent fit.

“We work outside of academic and algorithmic models,” said Moninger. “This allows for an emotional reaction to films and a more expansive ‘Bleak Week’ program. The festival is a tapestry of bleak moments and feelings that can be presented in all types of cinema, including the occasional comedy. We are not measuring the hopelessness of each film but creating something by bonding together a wide variety of challenging, unpromising cinema, which I hope builds to something positive.”

Ivan Dixon and ‘The Spook Who Sat by the Door’

An image from 1973’s “The Spook Who Sat by the Door,” directed by Ivan Dixon.

(United Artists / Photofest / UCLA Film & Television Archive)

This weekend the UCLA Film & Television Archive will be hosting “‘Going My Own Way’ Celebrating Ivan Dixon,” a tribute to the actor and filmmaker, including the local premiere tonight of a new 35mm print of the restoration of his 1973 film, “The Spook Who Sat by the Door.”

The film tells the story of the first Black CIA officer (Lawrence Cook), who leaves his token position at the organization to use what he learned there to train a Black guerrilla fighting force in Chicago. “The Spook Who Sat by the Door,” which was added to the National Film Registry in 2012, had a truncated release with it first came out due to its revolutionary politics, with some accounts that the FBI became involved in suppressing it.

“It’s just one of the most powerful meditations on the meaning of freedom that I’ve ever seen,” said UCLA programmer Beandrea July. “It’s so nice to see a movie that really knows what it is and doesn’t apologize for it. It doesn’t equivocate, it’s not trying to explain itself to people who aren’t interested in really understanding. It’s so satisfying to watch because it’s like finally someone actually speaks to the thing with the same oomph that the thing demands.”

On Saturday, along with the second screening of the film, there will be a showing of Christine Acham and Clifford Ward’s 2011 documentary “Infiltrating Hollywood: The Rise and Fall of ‘The Spook Who Sat by the Door,’” which examines the long saga of the film, its reception and release.

Acham will be present at screenings throughout the weekend as will Nomathande Dixon, Ivan Dixon’s daughter, as well as Natiki Hope Pressley, daughter of Sam Greenlee, author of the book on which the film is based.

Dixon, who died in 2008 at age 76, was best known for his role as Sgt. James Kinchloe on TV’s “Hogan’s Heroes,” a part he left before the show had ended to move behind the camera and begin a prolific career directing for television.

Ivan Dixon and Abbey Lincoln in the movie “Nothing but a Man.”

(Criterion Collection)

Also screening will be the 1964 film “Nothing but a Man” starring Dixon and directed by Michael Roemer, who died just last week at age 97. The film tells the story of racial tension in a small town; Dixon considered the film his favorite of his performances. The film will be paired with a 1960 episode of “The Twilight Zone” starring Dixon and Kim Hamilton.

The series will conclude Sunday with two pieces Dixon directed for television, 1983’s “Frederick Douglass: Slave and Statesman,” starring “Blacula’s” William Marshall, and an adaptation of Philip Hayes Dean’s “The Sty of the Blind Pig” starring Mary Alice and Scatman Crothers.

The Dixon family lived for many years in Altadena. What was once their home was destroyed in the January fires, a circumstance that gives the weekend an even greater emotional resonance.

“It’s special for the family because his wishes were never to have a memorial,” said Nomathande Dixon. “And this is something that feels like a tribute to him in our hometown of L.A. So we’re very appreciative of that. And I think he would’ve been thrilled.”

Points of interest

‘Michael Clayton’ in 35mm

George Clooney, left, and Sydney Pollack in the movie “Michael Clayton.”

(Myles Aronowitz / Warner Bros. Pictures)

At Vidiots on Saturday will be a 35mm screening of 2007’s “Michael Clayton” with writer-director Tony Gilroy in person. The film marked the feature directing debut for Gilroy, who previously had a successful career as a screenwriter and has gone on to be showrunner of the recent series “Andor.”

George Clooney stars in the film as a fixer for a powerful New York City law firm. He finds himself drawn into an already complicated situation involving defending an agricultural conglomerate in a class-action lawsuit when one of the firm’s top lawyers (Tom Wilkinson) has a nervous breakdown.

The film was nominated for seven Academy Awards, with Tilda Swinton winning for supporting actress for her role as the conglomerate’s chief counsel. In his original review of the film, Kenneth Turan wrote, “Watching this film makes you feel that Gilroy, best known for writing credits on all three ‘Bourne’ films, has poured the energy pent up during a decade and a half in Hollywood into this strong and confident directorial debut about desperate men searching for redemption in a cold and ruthless world. … As a director, Gilroy has an unmistakable instinct for the emotional jugular and a breakneck storytelling style that pulls you through his movie, no stragglers allowed.”

Sofia Coppola and Kirsten Dunst with ‘The Virgin Suicides’

Leslie Hayman, left, Kirsten Dunst, A.J. Cook and Chelse Swain in “The Virgin Suicides.”

(Paramount Classics)

On Sunday afternoon, the Academy Museum will screen Sofia Coppola’s 1999 feature debut, “The Virgin Suicides” with the filmmaker and star Kirsten Dunst in person. (There will also be a signing for Coppola’s new book of Corinne Day’s on-set photos from the film.) The story of five sisters in 1970s Michigan who all die by suicide, the film set the stage for Coppola’s gently incisive explorations of female interiority and a recurring collaboration with Dunst.

In his original review of the film, Kevin Thomas wrote, “Sofia Coppola shows an impressive maturity and an assured skill in adapting Jeffrey Eugenides’ novel ‘The Virgin Suicides’ to the screen for her directorial debut. As the title suggests, it’s a challenging undertaking that requires a smooth passage from pitch-dark humor to a stark finish. The result is a highly affecting film unafraid to exact an emotional toll. … While subtle in the utmost, Coppola leaves us with an understanding of how things could turn out as they did.”

‘Frances Ha’ and ‘Girlfriends’

Greta Gerwig, left, and Mickey Sumner in the movie “Frances Ha.”

(Pine District Pictures)

The New Beverly will host a double feature of Noah Baumbach’s 2012 “Frances Ha” and Claudia Weil’s 1978 “Girlfriends,” two sharply insightful portraits of female friendship, on Friday, Saturday and Sunday.

“Frances Ha” was the first screenplay co-written by Baumbach and Greta Gerwig, both who would (of course) go on to collaborate on the script for the mega-successful “Barbie,” directed by Gerwig. In “Frances Ha,” Gerwig plays a 20-something woman coming to grips with life as an adult while struggling to accept the end of a friendship by which she has long defined herself.

In his original review of the film, Kenneth Turan declared it “Effortless and effervescent, ‘Frances Ha’ is a small miracle of a movie, honest and funny with an aim that’s true.”

Of Gerwig and Bambach’s collaboration, he noted, “For the actress, a quicksilver presence with a fluid face who couldn’t be more natural on screen, ‘Frances’ is an opportunity to build a character of unexpected complexity. For the director, having a gifted collaborator able to be so completely present adds a lightness his films have not always had and has made possible an irresistible command of the moment.”

I spoke to Baumbach and Gerwig about the film when it was premiering at film festivals in Telluride and Toronto.

“The writing of it and the acting of it were separate for me,” Gerwig said at the time. “The writing of it was such a huge thing, but the acting of it was scary. I really was worried I wouldn’t be right for it…. It didn’t feel like, ‘I wrote this great part, and I’m perfect for it.’”

“I can say I totally had Greta in my head,” Baumbach said. “I always thought, ‘I can’t wait for Greta to play this part.’”

“Girlfriends” stars Melanie Mayron as Susan Weinblatt, a young photographer in New York City, who finds her life starting to unravel when her best friend (Anita Skinner) moves out of the apartment they share together. The supporting cast also includes Christopher Guest, Bob Balaban and Eli Wallach.

Selected for the National Film Registry in 2019, the film was praised by Stanley Kubrick when it was originally released; he declared it “one of the very rare American films that I would compare with the serious, intelligent, sensitive writing and filmmaking that you find in the best directors in Europe.” Lena Dunham likewise sparked to the film, once recalling of her first viewing, “It felt eerie, in the true sense of the word, how familiar this film was to me. … I almost thought, ‘Have I seen this and been gently ripping it off for the last five years?’”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

The Cannes Film Festival is winding down, with the awards ceremony happening on Saturday. Amy Nicholson and Joshua Rothkopf have been there, watching as many films as they can. In a notebook dispatch from the fest’s first week, Amy covered many early titles, including Harris Dickinson’s directing debut, “Urchin,” Ari Aster’s “Eddington,” Dominik Moll’s “Dossier 137,” Sergei Loznitsa’s “Two Prosecuters” and Oliver Laxe’s “Sirât.” A second diary is live now, covering several films including Spike Lee’s “Highest 2 Lowest” and the directorial debut of Kristen Stewart, “The Chronology of Water.”

Josh spoke to filmmaker Lynne Ramsay about her long-awaited return with “Die, My Love,” a tale of the struggles of motherhood, starring Jennifer Lawrence and Robert Pattinson. So far the film has become the festival’s biggest acquisition, picked up by “The Substance’s” distributor Mubi for a reported $24 million.

Director Lynne Ramsay on the set of the movie “Die, My Love.”

(Kimberly French)

Ramsay spoke about working with Lawrence and Pattinson, who, besides being big stars, are committed performers as well.

“I think they were very willing participants,” said Ramsay. “There was a lot of trust. I try and create an atmosphere of trust and I just threw them into the fire. I did the sex scene on the first day. I thought it’s a risk. It’s either going to work or it’s going to be a disaster. But I could see there was chemistry. And when they arrived, I was getting them dancing. They were dancing together, synchronized. And it was fun. And then I think Robert was a little nervous, but then something just kind of broke the ice.”

Josh also spoke to director Ari Aster about “Eddington” and whether he set out to make his most overtly politically charged film to date with the story of a small town’s sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparring during the early days of the pandemic.

“I am just following my impulses, so I’m not thinking in that way,” said Aster. “There’s very little strategy going on. It’s just: What am I interested in? And when I started writing, because I was in a real state of fear and anxiety about what was happening in the country and what was happening in the world, and I wanted to make a film about what it was feeling like.”

‘The Sugarland Express’ and our Spielberg Summer

Michael Sacks, left, William Atherton and Goldie Hawn in the 1974 movie “The Sugarland Express.”

(Michael Ochs Archives / Getty Images / Universal Pictures)

We seem to be on the verge of a summer of Spielberg. After last week’s screening of 2002’s “Minority Report,” this Thursday brings a showing of Spielberg’s 1974 “The Sugarland Express” at the Academy Museum with a conversation with the film’s star, Goldie Hawn.

There are also multiple opportunities to see “Jaws” this Memorial Day weekend in celebration of the film’s 50th anniversary, including presentations at the Egyptian, the New Beverly, Vidiots and the Frida Cinema. The film will also play at the Hollywood Bowl on July 5, with a live performance of John Williams’ score by the Los Angeles Philharmonic.

“The Sugarland Express,” screening in a 4K restoration from the original 35mm camera negative, was Spielberg’s theatrical feature debut. As tempting as it is to view it for the seeds of what was still to come, the movie is a fully formed charmer all on its own.

Lou Jean Poplin (Hawn) convinces her husband (William Atherton) to escape from prison just a few months from being released because their son is about to be placed for adoption. When the pair wind up taking a police officer hostage, their journey across Texas becomes an unlikely pursuit involving the authorities and the media.

In an April 1974 review, Kevin Thomas called the film “dazzling, funny, exciting and finally poignant. … An increasingly disenchanted portrait of contemporary America.”

Thomas added, “Spielberg and his associates are trying for entertainment rather than profundity, and ‘The Sugarland Express’ is anything but heavy. But it is incisive as it is rapid, like the more optimistic vintage Capra films it brings to mind. … When all things are considered, however, one realizes it is Goldie Hawn who gives the film its focus and dimension, making Lou Jean at once very funny and very sad, quite real, and for all her intransigence, most appealing.”

In a March 1973 report from the set, Hawn spoke to reporter Jeff Millar. She said it took a year after the film “Butterflies Are Free” to find another project that excited her as much. “I flipped when I saw this one,” Hawn said. “It’s a different kind of role for me. She’s aggressive. She’s a leader, she’s comical. But she’s still a plain country girl.

“I guess the most exciting thing is the director,” Hawn continued. “I’d never met him, but everybody knew about him, you know? ‘Oh yeah, you’re going to do a picture with Steve Spielberg. The bright young guy who’s coming up…’”

In comments that bring to mind his recent film “The Fabelmans,” Spielberg, 25 at the time, told Millar, “I’ve been making pictures in 8mm, 16mm and 35mm since I was 15. This is the fourth year I’ve had that Directors Guild of America card. I’ve been directing in television since I was 21.”

Of the movie, he added, “I wanted to shoot in Texas because it’s so big. I’m very into Americana — and Texas is a lot more Americana to me than, well, Kansas or Andrew Wyeth.”

Points of interest

Susan Sontag’s ‘Duet for Cannibals’

Adriana Asti, left, and Susan Sontag making their 1969 film “Duet for Cannibals.”

(Susan Wood / Getty Images)

In 1968, Susan Sontag, already a well-known and deeply influential writer and critic, was invited to Stockholm to make her first movie. The result was “Duet for Cannibals,” a darkly comedic satire of bourgeois values focused on two couples. The film plays at Vidiots on Wednesday.

In May 1973, Kevin Thomas wrote about the film when it had a few screenings at an art gallery and restaurant near LACMA, noting that it “demonstrates Susan Sontag is as gifted a filmmaker as she is a critic and philosopher.”

Thomas concluded, “Sontag illuminates human potential, with emphasis on its bent for destruction yet capacity to endure to a breathtaking fullness. In this bravura example of a work of art that achieves maximum of means, Susan Sontag proves she is a critic who can practice what she preaches.”

‘How to Get Ahead in Advertising’

Richard E. Grant in the movie “How to Get Ahead in Advertising.”

(Janus Films)

Writer-director Bruce Robinson followed up his cult hit “Withnail & I” with 1989’s “How To Get Ahead in Advertising,” a bitter satire of commercialization and the media. Richard E. Grant plays rising advertising executive Denis Dimbleby Bagley, who, while suffering an ethical crisis over the impact of his work, develops a boil on his neck that begins talking to him. The film will play in a new restoration at the Los Feliz 3 on Sunday, Wednesday and Thursday.

In a May 1989 review, Sheila Benson called the movie “a strange piece, to be sure. It’s cruel, funny, knowing, never less than biting and occasionally brilliant. Pure fury seems to have driven Robinson to it. … There are problems in creating something as simultaneously funny and unlovely as a talking boil. It’s possible that some audiences will lose interest once they learn that the effects are good but minor; the boil, even when grown to full manhood (boilhood?) isn’t a patch on ‘The Fly.’ But then, this isn’t that sort of movie. This is a blistering broadside, a warning for the safety of our souls.”

In a set visit by Bart Mills published around the film’s release, Robinson, then 43, did an interview from his office at Shepperton Studios outside London.

He said it was his own disillusionment at “the constant stream of disinformation the media and the politicians give us” that inspired the story. “This is the kind of anger I feel all the time. All the time. It’s intolerable. The only thing that saves me, that keeps the electrodes off my head, is that, thank God, I’m allowed to make a movie about it.”

Yet, Robinson added, “I don’t believe the cinema can change anything. It’s not a teacher, it’s an entertainer. I enjoy finding a comedic way to exploit my burning rage.”

The short films of Charles and Ray Eames

The title frame for Charles and Ray Eames’ 1955 short film “House: After Five Years of Living.”

(Eames Office, LLC.)

On Wednesday, the Philosophical Research Society and the Charles and Ray Eames Foundation will host an evening celebrating the famous creative duo. There will be a program of seven of the Eames’ shorts, including 1955’s “House: After Five Years of Living,” 1964’s “Think” and likely their best-known film, 1977’s “Powers of Ten.”

The event will also include a panel discussion moderated by programmer Alex McDonald including the Eames’ grandson Eames Demetrios, art director Jeannine Oppewall and the creative pair of Adi Goodrich and Sean Pecknold, known as Sing-Sing.

Writing about the enduring influence of the Eames in 2012, David L. Ulin said, “In our age of constant contact, it’s almost impossible to step away from the workplace even when we’re off the clock. And yet, if the Eameses have anything to tell us, it’s that we can — must — aspire to a higher integration, in which work should not only feed our stomach but also, and more importantly, our souls.”

In other news

Rolf Saxon accepts another ‘Mission’

Actor Rolf Saxon, photographed at the Museum of the Moving Image in Queens, New York.

(Justin Jun Lee / For The Times)

Fans of the “Mission: Impossible” franchise are in for a real surprise when they see the new sequel “The Final Reckoning,” which opens this weekend. Actor Rolf Saxon, who had a memorable turn in the first film in 1996, is back with a surprisingly large role in the new film.

Saxon’s character of CIA analyst William Donloe was sent to a radar station in Alaska after his computer station got hacked by Tom Cruise’s Ethan Hunt in one of the series’ signature set pieces. In the new film, it turns out Donloe has been in Alaska the entire time and now may have vital information for the Impossible Mission Force.

The new film brought Saxon to caves in the English midlands and, most spectacularly, Svalbard, an archipelago off the northern coast of Norway.

“This was in many ways a dream job,” says Saxon. “The people I’m working with, the thing I’m working on and the places I got to go to work — it’s just like, what would you really like to do? Here it is.”

My extended feature with Saxon goes live a little later this afternoon. Stay tuned.

Aprilia’s Marco Bezzecchi takes first MotoGP win in 20 months after leader Fabio Quartararo exits with a technical issue.

Marco Bezzecchi has won a chaotic British Grand Prix for Aprilia’s first victory of the 2025 season in a race that was initially red-flagged for an oil spill as riders crashed or retired while in the lead, including pole-sitter Fabio Quartararo.

The victory was a first for Aprilia since the Grand Prix of the Americas last year. LCR Honda’s Johann Zarco came second on Sunday and Ducati’s Marc Marquez pipped Franco Morbidelli to finish third and extend his lead in the riders world championship.

Both Alex Marquez and his brother Marc crashed while leading before the race was restarted for an oil spill while Yamaha’s Quartararo took the lead at the second time of asking before being forced to retire on lap 12 due to a technical issue with his bike.

Bezzecchi’s victory was his first since the 2023 Indian Grand Prix, and the Italian also became the 11th different winner at Silverstone in the past 11 races.

“It’s amazing. It has been a really tough time for me in this past month. …  Aprilia trusted in me, and we worked really hard,” Bezzecchi said.

“The team made a wonderful job. … I was waiting for a day like this since my last win.”

On the first start, sprint winner Alex Marquez had a perfect launch to take the lead from Quartararo, but just as he leaned into turn one, he lost control and crashed, allowing Marc Marquez to take the lead.

The elder Marquez also lost control, however, and crashed out of the lead – but the Marquez brothers earned a reprieve when the red flag came out for an oil spill in the final sector after Franco Morbidelli and Aleix Espargaro collided and crashed.

Race restarted

Since three laps had not been completed, all riders were eligible for the restart. Quartararo took the lead from Francesco Bagnaia and streaked away to a full second’s lead on the opening lap.

Both factory Ducatis suffered on lap three at Copse corner when they went wide as Marc Marquez and Bagnaia dropped to ninth and 10th place.

Bagnaia’s race ended on the following lap when he crashed while Bezzecchi moved up to third behind Pramac Racing’s Jack Miller.

Behind them, Marc Marquez was a man on a mission as he methodically picked his way through the pack, and by lap 11, he had moved up to fourth.

Yamaha’s dreams of taking the chequered flag went up in smoke as Quartararo signalled he had a problem with his bike, and the Frenchman relinquished his lead of nearly five seconds as his ride-height device had failed.

Quartararo stopped by the side of the track, hopped off his bike and sank to his knees with his head on the tarmac as the shell-shocked Yamaha garage looked on.

“When I saw Fabio with a technical problem, I even thought about a victory,” said Zarco, the first Honda rider to take back-to-back podiums since Marc Marquez in 2021.

Bezzecchi held on to win, though, while Marc Marquez swapped places with VR46 Racing’s Franco Morbidelli several times on the final lap before taking third in a photo finish.

“Today we were lucky because I made a mistake,” said a fuming Marc Marquez, who now leads his brother by 24 points in the world championship.

Billie Piper’s drama Secret Diary of a Call Girl is leaving Netflix and fans only have a few days left to watch the sexy drama.

Netflix fans only a short time left to enjoy a Billie Piper drama before it’s permanently removed from the streaming giant’s vast catalogue of shows.

Secret Diary of a Call Girl first graced our screens in 2007, airing on Showtime and ITV2, with actress Billie Piper taking the lead role just a year after her departure from Doctor Who as Rose Tyler.

Piper portrayed Hannah Baxter, a woman leading a double life as a prostitute named Belle, a secret kept from her family and friends until her personal and professional worlds collide.

The drama enjoyed a successful four-season run before being cancelled, and in mid-June 2024, Secret Diary of a Call Girl was added to Netflix in its entirety.

Regrettably, its tenure on the streaming platform is coming to an abrupt end, with Piper’s risqué drama set to depart next week.

Secret Diary of a Call Girl will be removed from Netflix on Thursday, May 29, leaving less than a week for viewers to binge-watch the series before it disappears for good.

The series boasts a star-studded cast featuring big names early in their careers, such as Baby Driver and Mamma Mia star Lily James and Crazy Rich Asians’ Gemma Chan.

Other recognisable faces include Revenge actress Ashley Madekwe, Excalibur star Cherie Lunghi, and Agent Carter actor James D’Arcy.

Fortunately, there’s an alternative for fans wishing to continue watching the popular series once it leaves Netflix.

All four seasons of Secret Diary of a Call Girl can also be streamed for free via ITV’s streaming service, ITVX.

Reddit users have been expressing their fondness for the series, with one fan posting: “I watched it years ago on TV and loved it.

“It was fascinating to see inside the life of a call girl. Billie Piper was great!”

Another fan echoed the sentiment, highlighting the star’s performance: “It had Billie Piper and was my reason to watch it back in the day.”

Someone else reminisced: “This was a very educational series when I was a teenager.

“The fact we had a character break the fourth wall and talk to us while she performed was very interesting.”

Secret Diary of a Call Girl is leaving Netflix UK on Thursday, May 29.

The BBC will be dropping the acclaimed movie soon

The BBC is set to deliver a Regency drama that’s certain to leave viewers weak at the knees, reports Surrey Live.

Audiences have lavished praise on the period piece, with one eager fan sharing their Rotten Tomatoes review: “Seen this in a movie theater elevates it to another level.

“The top of the top in the romance/drama/comedy genre, and one of the best movies of all times [sic].”

Another elated watcher wrote a glowing second review: “I would have to say, personally, this is the greatest movie I have ever watched.

“The story was so compelling, the characters like no other.”

Further praise came from a third delighted viewer who admitted: “I love every single minute of this movie.”

Joe Wright’s cinematically gorgeous 2005 version of Pride and Prejudice is slated for arrival on BBC iPlayer this month, just in time for its 20th anniversary celebrations and synchronising with what would have been Jane Austen’s 250th birthday.

This cinematic rendition sparked debate among die-hard Pride and Prejudice aficionados, especially as it followed a decade after the BBC’s much-cherished 1995 series featuring Colin Firth and Jennifer Ehle as the definitive Mr Darcy and Elizabeth Bennet.

Firth’s embodiment of Mr Darcy transcended the pages when he later mirrored the iconic role in Bridget Jones’s Diary, amassing an even wider fanbase and solidifying his portrayal as the ultimate Mr Darcy for many.

However, Matthew Macfadyen stepping into the prestigious shoes of Austen’s beloved hero for the 2005 film did stir some dissent among admirers, especially as the actor was known then for his work on Spooks.

However, his performance alongside Pirates of the Caribbean and Bend It Like Beckham star Keira Knightley, who played Elizabeth Bennet, managed to win over even the most doubtful critics.

Wright’s Hollywood rendition boasted stunning cinematography, featuring expansive shots of the English countryside, including a memorable scene of Lizzy perched on a cliff in the Peak District.

Complementing the striking visuals was the enchanting score by Italian composer Dario Marianelli.

For those unfamiliar with Austen’s classic, Pride and Prejudice follows the spirited Lizzy and her sisters as they navigate societal expectations to secure their futures through marriage.

Despite their mother Mrs Bennet’s, portrayed by Brenda Blethyn of Vera fame, frantic attempts at matchmaking, several of the Bennet sisters do find a match.

Amidst all this, Lizzy defies convention by seeking a marriage based on love rather than wealth.

Her initial awkward interaction with Mr Darcy sets them both on a transformative journey that challenges their preconceived notions and changes them irrevocably.

Pride and Prejudice boasted an impressive cast including Rosamund Pike, the late Donald Sutherland, Carey Mulligan, Talulah Riley, Jena Malone, Tom Hollander and Rupert Friend.

The film is certainly worth revisiting before Netflix’s upcoming adaptation of Pride and Prejudice, which will feature Emma Corrin as Elizabeth Bennet, Jack Lowden as Mr Darcy and Olivia Colman as Mrs Bennet.

Netflix has assured that the upcoming series will be a true-to-source, classic adaptation of the novel, with Dolly Alderton, author of Everything I Know About Love, handling the scriptwriting.

Filming for Netflix’s Pride and Prejudice is set to take place in the UK this year.

Pride and Prejudice (2005) will be streaming on the BBC iPlayer from May 26

Academy Award winner Billy Bob Thornton, who plays chain-smoking crisis manager Tommy Norris in Taylor Sheridan’s latest hit “Landman,” seems like a guy who can’t be intimidated. But get him in a room with Allison Janney and the truth comes out.

“I was afraid of you,” he tells her sheepishly on The Envelope’s Emmy Roundtable for drama actors.

“Really?” says Janney, the Oscar-, Emmy- and Golden Globe-winning performer who appears as cunning Vice President Grace Penn on the Netflix political thriller “The Diplomat.”

“The first time I met Allison, it was at another press function thing,” he says to the room. “And just seeing you, as an actor, and parts you play … But also, you have this very dignified quality about you.”

“It’s my height, I think.”

“No,” he continues. “You just have the face of someone who is powerful and really intelligent. So some idiot like me comes in, and I’m like, ‘Maybe I shouldn’t talk to her.’”

This is what happens when you gather seven Emmy contenders whose performances so convincingly shape our perceptions of who they are in real life. This year’s group also included Sterling K. Brown, who plays Xavier Collins, a Secret Service agent seeking the truth in Hulu’s “Paradise”; Britt Lower, who plays both wealthy heiress Helena Eagan and defiant data refiner Helly R. in Apple TV+’s “Severance”; Jason Isaacs, who plays Timothy Ratliff, an American financier desperately trying to keep a secret from his family in HBO’s “The White Lotus”; Noah Wyle, who plays Dr. Michael “Robby” Robinavitch, a senior attending physician at a Pittsburgh trauma center in Max’s “The Pitt”; and Kaitlin Olson, who plays the underestimated but brilliant police consultant Morgan Gillory in ABC’s “High Potential.”

Read on for excerpts from our discussion about how they tap into their layered performances, navigate the business and more — and watch video of the roundtable below.

The 2025 Emmy Drama Roundtable. Back row from left: Britt Lower, Jason Isaacs, Noah Wyle and Kaitlin Olson. From row from left: Billy Bob Thornton, Allison Janney and Sterling K. Brown.

(Jason Armond/Los Angeles Times)

Tell me about an “Oh, my God, did that just happen?” moment — good or bad — from your early years on a Hollywood set. Kaitlin, your first credit was “Curb Your Enthusiasm.” I can’t imagine what it’s like making Larry David laugh.

Olson: Oh, you just have to scream in his face and insult him, and then he thinks that’s really, really funny. But yeah, there were no marks and there were no lines. So I didn’t really have an “Oh, my God” moment. You just talk and shut up when you should shut up.

Isaacs: On my first day [on 1989’s “The Tall Guy”], I remember I arrived first thing in the morning. I was playing Surgeon No. 2 in a dream sequence that Jeff Goldblum was in. The director, who’s hassled and busy, he goes, “OK, we’re going to start with you. We’re coming in on the dolly. But because I’m on a very wide lens, if you could start the eyeline somewhere near the bottom of the jib and then just go to the corner of bottle, then take it to the edge of the matte box when we’re getting close.” And I went, “Right … What the f— did any of those words mean?” Jeff is just out of frame. And he’s in his underpants, and it’s a dream sequence for him. And we’re just about to go and roll the cameras, and Jeff goes, “Hold on a second.” And he stands up and he starts standing on a chair reciting Byron love poems even though he was not in the shot. I’m like, “I don’t understand what the hell is going on here.” Years later, I sat next to him at a wedding and I said, “Do you remember that night?” He went, “Yeah.”

Jason Isaacs of “The White Lotus.”

Have there been moments where you fell out of love with acting or where you felt like, “This isn’t working out”?

Janney: My career didn’t start till I was 38 or something, because I’m so tall, and I was literally uncastable. I went to the Johnson O’Connor [Research Foundation]. And I did three days of testing to see what else I could possibly do.

Issacs: What is that?

Janney: It’s an aptitude testing place. They ask you to do all this stuff, and at the end of it they say, “This is what you should be.” And they told me I should be a systems analyst. I had no idea what that was. And the next day, I got cast understudying Faith Prince and Kate Nelligan in “Bad Habits,” a play at the Manhattan Theatre Club.

Allison Janney of “The Diplomat.”

Brown: I’ve never fallen out of love with it. I was an economics major in college who wound up switching to drama. When I got out of grad school and [was] hopping around through regional theater, I wound up booking a TV show, “Army Wives,” for six years, and a few years into the show, I was like, “I think I’ve done everything that I want to do with the character.” So when they came dangling the carrot for people to reup after Season 6, I was like, “I’m curious to see what else the universe has in store.” I was able to pay off student loans. We had our first child, I had a home and I was like, “Let’s take a gamble on Brown.” I did a pilot for AMC that didn’t get picked up; then had a recurring [role] on “Person of Interest” for six episodes. I was like, “Oh, man, I got a wife and a kid and a house. Did I mess up? Should I have stayed on the show or not?”

Then I auditioned for [“The People v. O.J. Simpson: American Crime Story”], and I didn’t hear anything for four months. I was down in New Mexico shooting this movie, “Whiskey Tango Foxtrot,” and I was having this really sort of morbid moment of going through my IMDb Pro account and looking at everybody who had booked all of the things that I had auditioned for. I was like, “Oh, Bokeem Woodbine booked Season 2 of ‘Fargo.’ Good for him.” And I got a call from my manager saying, “They want you to screen test with Sarah Paulson for this thing.” I was the only person that they brought in to audition for it.

Sterling K. Brown of “Paradise.”

Your series are largely confronting or commenting on real-world anxieties or subjects that are changing in our world in real time. Noah, with Dr. Robbie and what he says about what’s going on in the healthcare system — we’re seeing him cope with the aftermath of COVID-19. We’re seeing stories that are very timely about vaccinations. Talk about what was important to you with this series and what you wanted to show through these characters.

Wyle: “ER” was very much a patient-centric show in a lot of ways. And this was more of an exercise to be practitioner- and physician-centric, to really show the toll that the last five years since COVID has taken on that community. The thesis being that it is as fragile as the mental health of the people that we have in those jobs and the quality’s what we received. Even though we had to peer into a crystal ball and try to figure out a year ago what would be the topical cases of today, we were really more interested in how everybody’s coping mechanisms have allowed them to practice what they’ve been doing for the last five years. How they’ve compartmentalized the toll it’s taken on them personally, and explore that in real time. Aggregate tension on a shift where you’re just embedded with them without release. The outset was more about identifying the mental health of the practitioner than identifying the ills in society … Can I just say how effing cool it is to sit at this table with you all and be the uncool one to say that I feel like my impostor syndrome is off the rails right now?

Olson: No way.

Noah Wyle of “The Pitt.”

Hopefully you’ll all guest star on each other’s shows by the time this is over.

Janney: I would love that.

Britt, what really spoke to me about “Severance” was its exploration of grief, but within that too, there’s the corporate overreach and the work-life balance that I think all of us can appreciate. Did it show you anything about how you navigate your work-life balance or what you could do better?

Lower: The cast talks a lot about how the “Severance” procedure is kind of like what we do for a living. We go to work and put on a different outfit and assume a new identity. There were some moments where you’re walking down the corridors on the way to your job, and there’s kind of this meta quality of being inside of a show about compartmentalizing and switching into a different part of yourself. But I think it’s so relatable. I think we do that as humans. We show up differently in different spaces in our lives, whether it’s work or home or going home for the holidays, versus your baseball team. You just put on a different person really.

Britt Lower of “Severance.”

Isaacs: If I go away to do a job on location somewhere, I can actually — even at my ripe old age; I’m a father and I’m a husband — just park my life and forget that. Now I see that metaphor very clearly and it’s irresponsible. I’m so much more comfortable in the fictitious world than I am in the real world.

Do you feel like there’s a misconception that you guys are just all at the pool?

Isaacs: I’m not really an actor anymore; I just do “White Lotus” publicity for a job. And in the billions of interviews, people expect you to say, “It was a holiday. We were in this resort.” Well, we’re not really in the resort. So I’ve said a few times, “You make friends. You lose friends, romances or whatever; things happen between departments and all the backstage drama that we’re all used to.” Well, the online world went mad trying to deconstruct, trying to work out who knew who and who was [doing what]. Actually, I’m talking about all the crew and all the departments — not that it’s anyone’s business. But it’s trying to deconstruct what we all think of each other. And what happened there is so much less interesting than Mike White’s brilliant stories. You shouldn’t be interested in who went to dinner with who. I kind of wish I hadn’t opened my mouth about it, but I don’t want to pretend it was a holiday. Not just the way that the show blew up but also the level of microscopic interest in anything any of us said, tweeted, posted — there aren’t many new experiences for actors who’ve been around a long time, but this one has been shocking, and I’m quite glad that it’s abating now. I’d like to return to my normal life, but I don’t know how people who are uber-famous deal with it.

Billy Bob, how did you come to navigate it? You’ve experienced the extreme effects of that.

Thornton: You mean in the world of Hollywood and all that?

Isaacs: Do you go to the supermarket, take the subway … Do you do the stuff I do?

Thornton: It depends on what year it is. I’ve gone through times where I couldn’t go anywhere. Once my life got bigger, and that really happened with … I mean, I was a working actor doing OK, but “Sling Blade” is the one that, literally overnight, it was a crazy thing. From that point on, it’s been pretty steady. What I’ve done to not get involved in all that is I don’t really go anywhere. I’m either working or I’m at home with the family or in a recording studio or on the road. You don’t see me in the [tabloid] magazines, at the parties and all that kind of stuff.

I’ll put it this way. Right now, with “Landman,” we thought it was going to be successful. We had no idea that it was going to be like this. I mean, we’ve got fans in Iceland and stuff. I can’t go to a Walmart in Texas. It’s literally impossible. I tried it. I would walk three feet at a time. Texans, their personalities are also very big, and they don’t really come up and go, “Excuse me, mister.” It’s not like that. It’s like, “Hey man, what’s going on? Get in a picture with me.”

I’ve had a reputation — weirdo. Angelina and I were vampires. We drank each other’s blood. You look on the internet, and there’s some kind of thing you’re trying to look up and, inevitably, it’ll show something else. So you go, “I hate this. I hate the internet, but I got to see it.”

Billy Bob Thornton of “Landman.”

Isaacs: There’s no good version of you. You either look much better on the screen or much better in real life. I wanted to say [looks at Allison], because I was a huge “West Wing” fan, I did some “West Wing,” I couldn’t break out of thinking that Bradley [Whitford] and Janel [Moloney] were, in fact, Josh and Donna. Did people think you were that political? People assumed you were that character?

Janney: I’ve been such a disappointment for people who think that I am C. J. [Cregg, her character on “The West Wing”], because I couldn’t be less like her. I’m not that person who’s able to verbally cut someone down in the second that she needs to. It was so great to play her, but I remember when they had the Democratic National [Convention] in California and there were more people who came up to me and asked me, “After this is over, will you come work for us? Will you come to…” I’m like, “You don’t understand. I’m so not like that.” And now on “The Diplomat,” playing the president of the United States and the smartest person in the room, it’s so much fun for me to play those kind of women because I’m not [like that]. I mean, I’m not an idiot, but I know nothing about being in the world of politics or being manipulative.

Kaitlin, “It’s Always Sunny in Philadelphia” is in its 17th season now. You’re on “Hacks.” When you’re signing on to something like “High Potential,” what factors do you consider when thinking about how long you want to commit to something?

Olson: I don’t ever want to play a character that starts to get old to me. “Sunny” doesn’t feel like that to me because it’s a satire and the world’s always providing us with new content. And we do eight to 10 episodes a season. So it’s 17 seasons, which is insane, but it’s not even 20 episodes. It’s so much fun, which is the reason I’m not sick of that character yet. But I feel the same way as you, [Allison], when I’m playing characters who are super-smart, and then I have to talk about it, I just go into panic mode.

How has it been getting into Morgan’s head?

Olson: I love the other characters that I play, but there’s heart to this, and she’s a good mom and she is very insecure but puts on a big show. I love that she’s scrappy and has to figure it out, and she trusts that she will and doesn’t rely on anybody else to help her figure it out. The most important thing are her kids. I think she’s just fascinating to play.

Kaitlin Olson of “High Potential.”

What’s the most impressive skill you picked up on the job? Noah, you know I’m going to start with you. You went to medical boot camp. You’ve done really well with sutures. You can intubate any one of us, I think.

Wyle: I’ve never performed one.

Isaacs: The night is young.

Wyle: I wish everybody an opportunity to slip into a role that you have such great muscle memory with from another aspect of your life when you play a musician or when you do circusing or whatever. When you do something you’ve done for so long, and then you get to do it again, it is just amazing how much it’s in your body and how you don’t have to worry about that stuff. There was a moment earlier where Sterling choked on the grape in the greenroom. I was so ready to intubate him, even if it wasn’t necessary.

Thornton: I went to air-traffic control school for “Pushing Tin,” so I can still say, “Delta 2376, turn left, 20-0-4-0” and “Clear the Alice approach one-four right, call the tower one-eight-three,” because you just don’t forget it. That’s not air-traffic control, that’s just a line. With Noah, he learns this skill that he has been doing over the years, and that kind of knowledge is invaluable. Anytime you have stuff to do, without just acting, like you’re doing busy work — you’re, like, here’s how you do an appendectomy — and you learn and when you’re picking up the right tools, you’re saying the right stuff, you’re making incisions — that stuff you’ve got to learn.

Isaacs: One of the great privileges of being an actor that maybe doesn’t show up onscreen is you get to walk in people’s shoes. I shadowed heart surgeons and plastic surgeons and politicians and criminals and soldiers, and it’s just an amazing privilege to be in people’s lives and talk about it. And there may be some tiny bit you pick up for the screen.

The actress best known for playing Sister Frances will lead the cast of the major BBC series airing next year

Call the Midwife favourite Ella Broccoleri has landed the lead role in BBC1’s upcoming Jane Austen drama The Other Bennett Sister. Ella, 35, played kindly nun Sister Frances in the hit series for four years from 2019, when she was written out suddenly after deciding to leave to pursue other roles.

In the plot she was knocked off her bike in the snow during a birth emergency in the 2022 Christmas special, suffering a shoulder injury. Fans were gutted when she was then sent to the Mother House to recuperate, and never returned to Poplar. One declared at the time: “If Sister Frances leaves I swear to God I’ll sue someone at Call the Midwife.”

As well as Sister Frances, Ella has also played the role of a young nun in historical drama, The Last Kingdom. And the actress also donned a habit for a third time as she appeared alongside Olivia Colman in Paddington in Peru.

READ MORE: Lorraine’s tearful ITV staff ‘fear for her future’ after ‘kick in the teeth’ news on cuts

Now the actress has been cast as Mary Bennet, sister of Pride and Prejudice’s lead character Elizabeth and she is also starring in upcoming ITV royal drama The Lady.

The Other Bennet Siste r is a fresh spin around the ballroom for one of Jane Austen’s most unassuming characters: Mary Bennet – the seemingly unremarkable and overlooked middle sister in Jane Austen’s Pride and Prejudice .

Awkward, anxious, preachy, full of fact and a terrible singer, Mary is overlooked by her mother and seems destined to have an empty dance card for the rest of her life – until she takes matters into her own hands.

The Other Bennet Sister, a 10-parter to air next year from production company Bad Wolf, gives Mary Bennet the epic love story nobody predicted for her. It takes her from her family home in Meryton to the soirees of Regency London and the peaks and vales of the Lake District – all in search of independence, romance and, most elusive of all, self-love and acceptance.

Writer Sarah Quintrell says: “I’m thrilled to be telling the story of Mary – the other Bennet sister – exploring what it is to come of age when you’re the odd one out. It’s a joy to be adapting Janice Hadlow’s brilliant take on such a beloved classic and to have found our home at the BBC.”

Saying she herself had been an “awkward, anxious” teen, she added: “I grew up watching the BBC’s wonderful Austen adaptations. It’s the stuff every writer dreams of and I can’t wait to bring this beautiful story to screen – not least, for all the Marys out there.”

BBC drama boss Lindsay Salt said: “The BBC’s Pride and Prejudice will forever be a classic moment in television history, and it’s incredibly exciting to return to Jane Austen’s irresistible world and go even further than before – this time in the footsteps of The Other Bennet Sister , Mary. We fell in love with Sarah’s adaptation because it’s a true underdog story packed full of heart, wit and charm, and a chance to explore Austen in a playful, original and heartfelt way.”

Last year Ella appeared in ITV’s Passenger and in the films Polite Society and Joy. She is currently filming The Lady, based on the story of Jane Andrews, a former royal dresser who worked for the Duchess of York who was later convicted of murder.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

The Spice Girls’ Netflix biopic is reportedly back on track – with the streamer signing a huge name to write the script

Spice Girls fans will be over the moon to hear that the band’s Netflix biopic is back on track, according to reports. Not only that, the streamer has reportedly signed a huge comedian to write the plot.

Last year, it was reported that The Spice Girls were set to be the subject of a tell-all TV drama whether they are involved or not. It was revealed that a biopic was going to be made to mark 30 years since the release of their hit Wannabe. It’s expected to air sometime next year.

At the time, a source told the Sun: “Executives are keen to have all the group on board providing as much input as possible – after all they are pop royalty. But Netflix are the organisation who defied the wishes of real royalty and went ahead and made The Crown, so they aren’t afraid to go it alone when they have to.”

However, it was reported that things could be put on hold due to alleged rifts in the band. Now, it looks like the streamer has been granted the green light once again, with Channel 4 comedian Jack Rooke on script writing duties.

“Bagging Jack is a real coup for the project and might be the crucial element that drives the drama forward after its rocky start,” a source told the Sun.

The source then went on to say that Jack already has a great relationship with Mel C, as she’s a huge fan of his show Big Boys.

“Of course, Netflix has yet to confirm it has commissioned the show and there’s still a lot to play for. But there now seems to be a genuine will to make things happen,” the source continued.

The Mirror has contacted Netflix for comment.

The girl group exploded onto the music scene in 1996 and went on to be one of the most successful British bands in the world. Geri Halliwell, 51, Victoria Beckham, 50, Mel B, 49, Mel C, 50, and Emma Bunton, 48, had worldwide success and went on to release two albums before Ginger Spice sensationally quit.

It isn’t the band’s first tie to the streaming service. In 2022, Emma and Mel B took part in The Circle USA where they were seen catfishing the other contestants pretending to be a man named Jared.

The duo admitted they are “massive fans” of the reality show, with Mel adding: “So when they asked us [to appear], no brainer.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

The panel was flabbergasted when Britt Lower wasn’t nominated for her work in the first season of “Severance”; they have her near the top of the Round 1 list this time. But she may be in for misery as Kathy Bates barely edged her out for the No. 1 spot for her unique spin on “Matlock.”

“Fun fact: It’s been a full decade since an actress on a broadcast TV show won in this category (Viola Davis, for ABC’s ‘How to Get Away With Murder’),” says Kristen Baldwin. “Kathy Bates could (and should) break that dry spell.” Glenn Whipp agrees, quoting Bates’ character: “‘There’s a funny thing that happens when women age … We become damn near invisible.’ Unless, of course, you’re Kathy Bates, in which case, you become the odds-on favorite to win a third Emmy.”

But “while she missed out last time around,” writes Trey Mangum, “Britt Lower is also a top pick here.” Even “Matlock” booster Matt Roush says, while Bates’ performance requires constant trickery, “Don’t count out Britt Lower (‘Severance’) as the equally two-faced Helly R./Helena Eagan, a role with an even higher degree of emotional difficulty.”

At No. 3 is Bella Ramsey, stepping into the solo spotlight in one of TV’s buzziest shows. “‘The Last of Us’ Season 2 shifts its focus to Ellie, and Bella Ramsey has shined as they move from angsty young adult to goofball with a crush to grief-stricken warrior driven by revenge,” says Tracy Brown, also praising Ramsey’s featured guitar-and-singing skills.

More predictions: Drama actor / Drama series

1. Kathy Bates, “Matlock”
2. Britt Lower, “Severance”
3. Bella Ramsey, “The Last of Us”
4. (tie) Lashana Lynch, “The Day of the Jackal”
4. (tie) Melanie Lynskey, “Yellowjackets”
6. Keri Russell, “The Diplomat”
7. Kaitlin Olson, “High Potential”
8. Sharon Horgan, “Bad Sisters”
9. Keira Knightley, “Black Doves”
10. Zoe Saldaña, “Lioness”

Los Angeles Times

Lorraine Ali

1. Cristin Milioti, “The Penguin”
2. Michelle Williams, “Dying for Sex”
3. Cate Blanchett, “Disclaimer”
4. Julianne Moore, “Sirens”
5. Kaitlyn Dever, “Apple Cider Vinegar”

“Apart from Kathy Bates, the three names at the top of my list — Sharon Horgan as the eldest Garvey sibling in ‘Bad Sisters,’ Britt Lower as the duplicitous Helly R. in ‘Severance’ and Melanie Lynskey as the coldblooded butcher/soccer mom Shauna in ‘Yellowjackets’ — all delivered strong performances in their returning series.”

Entertainment Weekly

Kristen Baldwin

1. Kathy Bates, “Matlock”
2. Britt Lower, “Severance”
3. Melanie Lynskey, “Yellowjackets”
4. Bella Ramsey, “The Last of Us”
5. Keri Russell, “The Diplomat”
6. Keira Knightley, “Black Doves”

“Fun fact: It’s been a full decade since an actress on a broadcast TV show won in this category (Viola Davis, for ABC’s ‘How to Get Away With Murder’). Kathy Bates could (and should) break that dry spell with her delightful turn as the folksy-fierce Matty Matlock in CBS’ legal drama. Meanwhile, Keira Knightley deserves a nod for the suspenseful spy thriller ‘Black Doves’ (even if it is more of a comedy than a drama).”

Los Angeles Times

Tracy Brown

1. Bella Ramsey, “The Last of Us”
2. Kathy Bates, “Matlock”
3. Britt Lower, “Severance”
4. Melanie Lynskey, “Yellowjackets”
5. Kaitlin Olson, “High Potential”
6. Angela Bassett, “9-1-1”

“‘The Last of Us’ Season 2 shifts its focus to Ellie, and Bella Ramsey has shined as they shift from angsty young adult to goofball with a crush to grief-stricken warrior driven by revenge. Plus, they’ve shown that they’re just as proficient with a guitar as they are with weapons.”

Shadow and Act

Trey Mangum

1. Lashana Lynch, “The Day of the Jackal”
2. Kaitlin Olson, “High Potential”
3. Zoe Saldaña, “Lioness”
4. Britt Lower, “Severance”
5. Keri Russell, “The Diplomat”
6. Kathy Bates, “Matlock”

“The more time goes on, the more it seems like Kathy Bates will likely receive an Emmy nomination for a broadcast television show, and honestly, she has a great shot at winning. And while she missed out last time around, Britt Lower is also a top pick here.”

TV Guide

Matt Roush

1. Kathy Bates, “Matlock”
2. Britt Lower, “Severance”
3. Bella Ramsey, “The Last of Us”
4. Keri Russell, “The Diplomat”
5. Keira Knightley, “Black Doves”
6. Helen Mirren, “MobLand”

“Even if the voters pass on ‘Matlock’ as a series, they’ll have a harder time ignoring Kathy Bates as the crafty lawyer playing a long game. Don’t count out Britt Lower (‘Severance’) as the equally two-faced Helly R./Helena Eagan, a role with an even higher degree of emotional difficulty.”

Los Angeles Times

Glenn Whipp

1. Kathy Bates, “Matlock”
2. Britt Lower, “Severance”
3. Lashana Lynch, “The Day of the Jackal”
4. Bella Ramsey, “The Last of Us”
5. Keira Knightley, “Black Doves”
6. Sharon Horgan, “Bad Sisters”

“‘There’s a funny thing that happens when women age,’ Kathy Bates’ protagonist says early on in the ‘Matlock’ reboot. ‘We become damn near invisible.’ Unless, of course, you’re Kathy Bates, in which case, you become the odds-on favorite to win a third Emmy.”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This year’s edition of the Cannes Film Festival launched this week. The winner of last year’s Palme d’Or, Sean Baker’s “Anora,” went on to win five Oscars including best picture. Numerous other Cannes premieres from 2024, such as “The Substance,” “The Apprentice” “Emilia Peréz” and “Flow,” went on to successful awards season runs as well.

This year’s lineup features many titles we could be talking about all year long, including Lynne Ramsay’s “Die, My Love,” Kelly Reichardt’s “The Mastermind,” Wes Anderson’s “The Phoenician Scheme,” Joachim Trier’s “Sentimental Value,” Ari Aster’s “Eddington,” Richard Linklater’s “Nouvelle Vague” and Spike Lee’s “Highest 2 Lowest.” The festival will world-premiere the feature directing debuts of Kristen Stewart and Scarlett Johansson, with “The Chronology of Water” and “Eleanor the Great” respectively. Read all of our coverage as it unfurls right here.

The festival also saw the premiere of Christopher McQuarrie’s “Mission: Impossible – The Final Reckoning,” the fourth movie he has made in Tom Cruise’s venerable action-espionage franchise. Amy Nicholson was at the film’s world premiere, writing, “Cruise is the reason audiences will, and should, see “Final Reckoning” on a large and loud screen. His Ethan continues to survive things he shouldn’t. … Yet, what I’ve most come to appreciate about Ethan is that he doesn’t try to play the unflappable hero. Clinging to the chassis of an airplane with the wind plastering his hair to his forehead and oscillating his gums like a bulldog in a convertible, he is, in fact, exceedingly flapped.”

‘Minority Report’ in 35mm

Samantha Morton and Tom Cruise star in the movie “Minority Report.”

(DreamWorks LLC / 20th Century Fox)

As audiences prepare themselves for the upcoming release of “Final Reckoning,” folks may want to revisit not only other films in the “Mission: Impossible” series but also other titles from the now nearly 45-year career of Tom Cruise.

On Sunday, the Egyptian Theatre will have a 35mm screening of 2002’s “Minority Report,” which paired the star with director Steven Spielberg for the first time. Adapted from a novella by sci-fi writer Philip K. Dick and set in 2054, the story finds Cruise as an officer for a “pre-crime” unit that uses clairvoyant humans to stop crimes before they occur. When he discovers possible faults in the system and finds himself accused of a crime he has yet to commit, Cruise must go on the run.

In a review at the time, Kenneth Turan wrote that the film “finds Hollywood’s preeminent director more convincingly at home with unapologetically bleak and unsettling material than he was with Kubrick’s ‘A.I.’ ‘I wanted to make the ugliest, dirtiest movie I have ever made,’ Spielberg told cinematographer Janusz Kaminski, and there’s little doubt he’s succeeded. … But the road to self-knowledge can be an uneven one, and as impressive as this disturbing, even haunting film can be, it does not feel all of a piece.”

Turan added, “A word must be said for Cruise. Though his is the starring role, it is in some ways a thankless one, needing him to be the tireless turbine that powers this expensive cinematic machine and nothing more. It’s not the kind of work that wins awards, but without Cruise’s intensity almost willing our interest in Spielberg’s unrelentingly dark world, ‘Minority Report’ wouldn’t have nearly as much life as it does.”

More ‘Old Man’ films from ‘You Must Remember This’

Jacqueline Bisset and Candice Bergen on set of the movie “Rich and Famous” in 1981.

(Michael Ochs Archives / Getty Images)

The American Cinematheque has a series underway to celebrate the recent season of the podcast “You Must Remember This.” A few months ago, I featured an interview with the show’s writer, producer and host Karina Longworth to talk about “The Old Man Is Still Alive,” a season examining the late careers of filmmakers such as Alfred Hitchcock, Vincent Minnelli, Billy Wilder and others who had enjoyed decades of success only to find themselves floundering amid the cultural changes happening in Hollywood during the 1960s and ’70s.

The Cinematheque series, playing Tuesdays throughout July at the Los Feliz 3, features some of the most intriguing titles from that podcast, many of them rarely screened and all worthy of the reappraisal Longworth invites. This Tuesday will be Howard Hawks’ 1965 film “Red Line 7000,” about young stock car racers.

In a published transcript from the episode covering Hawks, Longworth said the film was “a bizarre, low-budget experiment that grafts Hawks’s longstanding interest in gender warfare onto a semi-documentary sports movie about low-rent race car champions, starring a very young, very hot James Caan. Hawks’ ’60s romantic comedy, ‘Man’s Favorite Sport?’ could have been made in the 1930s and ’40s as basically the same movie. The same goes for each of the other films he made in his last decade as a filmmaker, none of which took place in contemporary America, except for ‘Red Line 7000.’ ‘Red Line 7000’ is a movie that could have only been made in 1965.”

Kevin Thomas reviewed the film on Nov. 26, 1965, writing, “‘Red Line 7000’ takes off like a streak of lightning, zooms through a thicket of romantic entanglements and winds up a winner at the finish. … Plenty of action plus a cast of attractive unknowns assures another success for veteran director Howard Hawks.”

That will be followed on May 27 by a 35mm screening of George Cukor’s 1981 “Rich and Famous,” starring Candice Bergen and Jacqueline Bisset as friends who become competitive over their literary careers. Noting Pauline Kael’s withering New Yorker review of the film, Longworth added, “What Kael sees as reason for derision, I see as worthy of praise.”

Thomas spent time on the set while the film was in production. Cukor told him, “It’s a great pleasure to read a really good script. And with such wit and style. It’s very contemporary and devastatingly accurate, with a bold, impertinent wit and gaiety. There are two extraordinary parts for women, and the man has a good one, too. So it’s up to us to make it work. I don’t think wit is the coin of the realm right now — it’s ‘Star Wars’ and all that.”

In an October 1981 profile of the film’s writer, Gerald Ayres, who also did Adrian Lyne’s 1980 “Foxes,” the writer says of Cukor, “He put bite and energy into it. His work survives so well because of that squeeze of lemon he puts in his films.”

James Coco and Dyan Cannon in the movie “Such Good Friends.”

(American Cinematheque)

On June 17, there will be a screening of Otto Preminger’s “Such Good Friends,” a satirical dramedy about middle-class sexual escapades starring Dyan Cannon (nominated for a Golden Globe for her performance) that featured a screenplay worked on by the likes of Joan Micklin Silver, John Gregory Dunne and Joan Didion with Elaine May receiving final screen credit under a pseudonym.

On the podcast, Longworth said of the film, “In the midst of a cultural moment that was obsessed with the idea of a sexual revolution but at the same time refused to acknowledge the ways in which that revolution mostly benefited men while imposing on women a whole new set of impossible standards, ‘Such Good Friends’ is the rare Hollywood movie of its time to portray the imbalance between men and women in terms of acceptable levels of desire and anger.”

A January 1972 Times profile of Preminger by Wayne Warga found the journalist tagging along to Preminger’s tastefully luxurious office on the Paramount lot (which the filmmaker would soon be losing), as well as to local TV appearances hosted by Tom Snyder and Regis Philbin. Cannon canceled a promotional tour for the film due to a dispute with Preminger and said for the record, “I have absolutely no words for him. I will come up with a word for him one day. It hasn’t been invented yet.”

Lola Falana and Roscoe Lee Browne in the 1970 movie “The Liberation of L.B. Jones.”

(American Cinematheque)

Other films in the series include Alfred Hitchcock’s 1972 “Frenzy,” Billy Wilder’s 1964 “Kiss Me, Stupid” in 35mm, Vincente Minnelli’s 1962 “Two Weeks in Another Town” in 35mm and Stanley Donen’s 1967 efforts “Two for the Road” and “Bedazzled.”

Among the most exciting titles in the series is a 35mm screening of William Wyler’s 1970 “The Liberation of L.B. Jones,” starring Roscoe Lee Browne, Lee J. Cobb, Anthony Zerbe and Lola Falana in a story of a successful Black businessman who finds his life complicated by his wife’s affair with a local white police officer.

Longworth called the film “uncompromising and unforgiving,” adding that, “‘The Liberation of L.B. Jones’ feels like Wyler leapfrogging over the ’60s entirely, skipping straight from a nostalgic cinematic universe in which nothing very bad ever happens to a ’70s of disillusionment and failed ideals.”

In a review from the time of the film’s release, Charles Champlin echoed those sentiments when he wrote the film was “unsentimental, unsparing, unforgiving, also brutal, credible, powerful, deeply disturbing and depressing and superbly well-acted. It reaffirms — not that it needed reaffirming — the immense power of the film as a social document. It will enrage as few pictures this year will enrage, and we’ll all have to hope that truth is its own purgative.”

Points of interest

‘Going Down’

A scene from the 1983 Australian film “Going Down.”

(Muscle Distribution)

The first theatrical re-release from the new company Muscle Distribution, 1983’s “Going Down” from Australian filmmaker Haydn Keenan will play in a 4K restoration on Friday and Saturday at Vidiots. The film has never had a U.S. release until now and is just the kind of off-beat, undiscovered title the current rep-revival scene is set up to embrace.

“Going Down” is similar to the early Susan Seidelman films “Smithereens” and “Desperately Seeking Susan” for the way it serves as a snapshot of a specific time and place — the clothes, the décor, the music — as well as being a portrait of a series of personalities. Capturing the early ’80s alternative scene of Sydney, the film follows four young women (played by Tracy Mann, Vera Plevnik, Julie Barry and Moira Maclaine-Cross) as they are all trying to establish their own identities and launch their lives, while also making their way across the city to find an envelope of missing money.

U.S. premiere of Chung Mong-hong’s ‘The Embers’

A scene from Taiwanese filmmaker Chung Mong-hong’s “The Embers.”

(American Cinematheque)

This weekend American Cinematheque is launching a series on the Taiwanese filmmaker Chung Mong-hong, including the U.S. premiere of his latest film “The Embers.” Aside from writing and directing all of the films in the series, Chung is also his own cinematographer. The filmmaker is scheduled to appear in person at all the shows.

Writing about him in 2022, critic Carlos Aguilar called Chung “one of the most infuriatingly underappreciated storytellers of our time.” This series should help bring his work to a broader audience.

“Parking,” from 2008, tells the story of a man trying to win back his estranged wife and is screening in 35mm. 2016’s “Godspeed” finds a cab driver mixed up with a drug dealer, while 2019’s family drama “A Sun” was Taiwan’s submission to the Academy Awards.

On Sunday, Chung will also introduce a 35mm screening of Jim Jarmusch’s 1984 “Stranger Than Paradise.”

Lars von Trier’s ‘Nymphomaniac’

Charlotte Gainsbourg and Jamie Bell in “Nymphomaniac: Volume II.”

(Christian Geisnaes / Magnolia Pictures)

On Wednesday, Brain Dead Studios will be screening both volumes of Lars von Trier’s “Nymphomaniac” combined as a single 242-minute experience. The films were released separately but both tell a continuing story, as Joe (Charlotte Gainsbourg) recounts to Seligman (Stellan Skarsgård) the story of her sexual awakening and ongoing struggles as a sex addict. The cast also includes Stacy Martin, Shia LeBeouf, Jamie Bell, Mia Goth, Willem Dafoe and Uma Thurman.

When the films were initially released in 2014, I reviewed both “Volume 1” and “Volume II” separately. As I said at the time, “Few other filmmakers are capable of quite the same walloping power, though the film’s digressive, chaptered style gives it an offhand quality that asks for easy dismissal. Von Trier is such a masterful filmmaker that every new project comes on with the expectation and air of a totalizing masterwork, [creating] the unsated sensation of having too much and wanting more.”

In another piece I wrote that considered the films within Von Trier’s larger body of work (noting the filmmaker’s turn toward pranksterish provocations such as his now-notorious Cannes news conference appearances), I added that with the “Nymphomaniac” films, “he further questions both himself and his audience, asking what we want from cinema and what cinema is capable of giving us back. … What the ‘Nymphomaniac’ project may represent most of all is Lars von Trier burning down his own house, clearing a path to get out of his own way. Provocative in every sense of the word, stirring the loins, the head and the heart, the cinema of Lars von Trier is not to be dismissed. And that’s no joke.”

In other news

Summer movie preview

Mia Threapleton and Benicio del Toro in director Wes Anderson’s “The Phoenician Scheme.”

(TPS Productions / Focus Features)

As part of our summer preview, the LAT published an interview wth Benicio del Toro, star of “The Phoenician Scheme.” Del Toro’s unpredictable screen presence has long made him one of my favorite actors and it is exciting to see him in a lead role. Wes Anderson wrote the part specifically for Del Toro, playing a 1950s industrialist tycoon known as Anatole “Zsa-zsa” Korda.

As Del Toro said to Carlos Aguilar, the actor couldn’t quite believe what he was reading in the script pages Anderson would periodically send him. “I didn’t know if it was going to be another film like ‘The French Dispatch,’ where my character ends and then another story rolls up,” he said. “Little by little, I understood that it was the whole thing.”

Allison Williams and an animatronic M3GAN in a scene from the movie “M3GAN 2.0,” directed by Gerard Johnstone.

(Universal Pictures)

Joshua Rothkopf spoke to Adrien Morot and Kathy Tse, the creative team behind Morot FX Studio, who along with several puppeteers, technicians and 15-year-old actor Amie Donald bring the film’s unnerving robot doll to life in the upcoming “M3GAN 2.0.” (Morot and Tse also won an Oscar for their work on “The Whale.”) The doll for the new film has been altered somewhat to keep up with Donald’s own growth.

“In my naiveté, I never quite understood just how much this was basically an elevated Muppet movie,” said the film’s director Gerard Johnstone. He added, “I thought, Why are we making something that looks like a toy when these guys can make things that look human? Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before? And Adrien and Kathy were the perfect people to partner up with on that.”

There is also a handy list of 18 films to look forward to this summer, including Celine Song’s “Materialists,” Eva Victor’s “Sorry, Baby,” Darren Aronofsky’s “Caught Stealing,” Danny Boyle’s “28 Years Later,” James Gunn’s “Superman,” Zach Cregger’s “Weapons,” Joseph Kosinski’s “F1,” Akiva Schaffer’s “The Naked Gun,” Michael Shanks’ “Together” and Nisha Ganatra’s “Freakier Friday.”