film

Actor James Tolkan, known for his role as the Hill Valley High principal in “Back to the Future” and the no-nonsense commanding officer in “Top Gun” has died. He was 94.

Tolkan died Thursday in Lake Placid, N.Y., where he lived, his booking agent, John Alcantar, told the Associated Press on Saturday.

In “Back to the Future,” Tolkan portrayed Vice Principal Gerald Strickland, who surveyed the school’s halls with a whistle around his neck and a tardy slip burning a hole in his pocket.

“You got a real attitude problem, McFly,” Tolkan’s character snaps at Michael J. Fox’s character, Marty McFly, in the cult classic 1985 film. “You’re a slacker. You remind me of your father when he went here. He was a slacker, too.”

The line became one of Tolkan’s most famous, and mega-fans would flock to Comic-Cons around the country to ask the star to call them a slacker, requests he typically obliged.

The actor had a number of film and television gigs through the 1960s and ’70s, but he was doing David Mement’s Broadway play “Glengarry Glen Ross” when he got the offer to play Strickland in “Back to the Future.”

“I always said, ‘I’m never going to Hollywood until they send for me,’ ” he told T.C. Restani during a 2015 interview. “And I said, OK, this is my chance. And of course, nobody realized that it was going to be such an important picture. But it was. It was one of those marvelous events where all the planets were aligned and ‘Back to the Future’ became this shooting star of a movie.”

Tolkan was also well known for drilling Maverick and Goose with swift reprimands and tough love between puffs of his cigar as their commanding officer, Tom “Stinger” Jardian, in the 1986 blockbuster “Top Gun.”

“That was very special, because when you make a movie you never know, but in ‘Top Gun,’ everybody felt like it was going to be a success,” Tolkan told Bob McCarthy during a 2016 Comic-Con interview. “ They just felt it, knew it right from the first day.”

Born June 20, 1931, in Calumet, Mich., Tolkan was the son of a cattle dealer — Ralph M. Tolkan. He moved around in his adolescence, spending time in Chicago and landing in Arizona after his parents’ divorce. It was there that his athletic skills got him noticed by the Eastern Arizona College football coach. Tolkan landed a scholarship to the college, but his academic career was short-lived, and he left to enlist in the U.S. Navy.

After a year of service during the Korean War, he was discharged due to a heart ailment, and with $75 to his name he set out for the Big Apple to try his hand at acting. In New York, Tolkan studied under Stella Adler and Lee Strasberg at the famed Actors Studio and started landing stage roles before working his way to the big screen.

Although his experience in the military informed the types of roles Tolkan would play — Army office, Air Force commander, police lieutenant, attorney — his work as an actor was his passion. “If you choose to be an actor, you have to choose to be an actor, and you have to stick with it through thick and thin,” he told a FanX audience member during a 2023 panel at the Salt Lake City pop-culture convention. “When things get tough, you can’t think about doing something else. You’ve got to say to yourself, ‘I’m gonna do this.’ ”

Other notable acting projects of Tolkan’s include the 1973 film “Serpico,” starring Al Pacino; the 1981 movie “Prince of the City”; the role of Napolean in Woody Allen’s 1975 film, “Love and Death”; and the 1983 film “WarGames,” in which he acted alongside Matthew Broderick.

Tolkan is survived by his wife of 54 years, Parmelee Welles.

It’s clear that “Forbidden Fruits” director and co-writer Meredith Alloway has marinated in plenty of ’90s teen movies and the kitschy pop-culture ephemera of that era. Her directorial debut, written with Lily Houghton and based on Houghton’s play “Of the woman came the beginning of sin and through her we all die,” is essentially a synthesis of “The Craft,” “Mean Girls” and “Clueless,” about a coven of catty witches who work at a boutique in a Texas mall.

But in “Forbidden Fruits,” it’s hard to shake the feeling that Alloway’s movie knowledge is just that — easily identifiable iconography without much innovation or depth.

Our clique comes storming down the mall food court in that classic slow-motion strut, letting us know right away what we’re in for. They’re known as the Fruits because they all happen to be named after them. The leader, Apple (Lili Reinhart), operates in the controlling mode of Regina George or Cher Horowitz; her lackeys are alt queen Fig (Alexandra Shipp) and blond bimbo Cherry (Victoria Pedretti). When they realize that a cute pretzel purveyor is named Pumpkin (Lola Tung), they quickly bring her into their circle as a fourth, seemingly only because her name fits the theme.

Apple runs her high-femme coven out of their store Free Eden with an emphasis on iconic women: The girls confess to their martyr Marilyn Monroe in a dressing room and practice dark magic with their panties and a silver cowboy boot. In the interest of helping each other “shine,” Apple also takes a page from Ann Lee and the Shakers — sex and boys are banned and communication is highly controlled.

It’s only when Pumpkin starts uncovering some of the coven’s secrets, including the existence of a former member named Pickle (Emma Chamberlain), that their controversial personal histories involving hexes, poison, fires and hidden boyfriends come to light, and the situation spirals out of control (literally — the climax happens during a tornado).

Alloway and cinematographer Karim Hussain craft a distinctive and unique aesthetic, a gauzy, highly artificial look that underlines the winky referential tone, but one that also lends “Forbidden Fruits” a strangely dreamlike quality that doesn’t always work for the genre.

While the actors, particularly Reinhart and Pedretti, are locked in with the tone and Reinhart delivers the fierceness required of such a role, the pace of “Forbidden Fruits” is at odds with the performers. The film is weirdly slow and sleepy and at least 20 minutes too long. The convoluted story, peppered with various twists, lacks momentum.

A stronger hand in the edit could have resulted in something more dynamic and engaging, but the plotting is mushy and then rushed. For a witchy horror thriller, it’s heavier on psychological violence than actual scares, and a third-act bloodbath and big reveal can’t save it when we finally get there.

The film’s theatrical provenance reveals itself in long monologues in the Marilyn confessional room and Pedretti delivers one that reveals the depth beyond Cherry’s ditzy exterior. We can see Houghton’s play in these moments, but then Alloway’s cheeky pop sensibility intervenes, the arch artificiality and ironic tone draining the emotional impact.

“Forbidden Fruits” can’t reconcile all of its influences and just ends up as a collection of references and high style without much staying power — it’s essentially the fast fashion of girly pop horror.

Katie Walsh is a Tribune News Service film critic.

The former EastEnders star has been cast in the reboot of The X Files, which has been greenlit by American streaming powerhouse Hulu

Former EastEnders star Himesh Patel has landed a significant role in the highly anticipated reboot of The X Files.

The 35-year-old, who first captured the nation’s hearts as a youngster on the popular BBC soap portraying Tamwar Masood in Albert Square, is now setting off on a completely different adventure.

He has been cast in Ryan Coogler’s reboot pilot of The X Files, which American streaming giant Hulu gave the go-ahead to last month. Himesh will appear alongside BAFTA-nominated actress Danielle Deadwyler, playing two ‘vastly different’ FBI agents.

Danielle, 43, boasts an impressive array of accolades, particularly for her compelling portrayal of Mamie Till-Mobley in Till. She was nominated for the Best Actress in a Leading Role award at the 2023 BAFTA Film and TV awards, reports OK!.

According to a logline by Variety, the reboot focuses on: “Two highly decorated but vastly different FBI agents (Deadwyler, Patel) form an unlikely bond when they are assigned to a long-shuttered division devoted to cases involving unexplained phenomena.”

The publication also confirms that both stars will portray entirely new characters, rather than reimagined versions of Fox Mulder and Dr. Dana Scully, according to the Daily Mail. David Duchovny and Gillian Anderson brought those iconic roles to life across 11 series.

Original creator Chris Carter is returning as executive producer, while Jennifer Yale (The Copenhagen Test) has been appointed as showrunner. Meanwhile, Coogler is scheduled to write, direct and produce, drawing inspiration from his mother’s fondness for the original series.

This marks another collaboration between Himesh and Danielle, having previously worked together on the 2021 miniseries Station Eleven.

Himesh left EastEnders in 2016 after his character ran away with then-girlfriend Nancy Carter. Two years later, he shot to international fame by securing the lead role in Yesterday, which became his breakthrough film.

In 2024, Himesh disclosed that struggling with acne while working on EastEnders as a teenager ‘felt like the worst thing in the world‘.

Speaking openly to British GQ Hype, the actor looked back on his remarkable career journey, including his early years on the legendary soap.

He told the publication: “I’ve been doing this since I was 16, When you’re a teenager and you have acne, it’s the worst thing in the world.

“But then when you’ve got acne in front of millions of people every week in EastEnders, it’s a whole other thing. ‘It was rough. You just kind of feel defective because you’re surrounded by actors. Everyone gets spots, but I just felt the pressure.”

The X-Files is available to stream on Disney+.

“I want to lick your stink … I want to taste your foulness … I want to shower in your rot … I want to feast in your fetid funk.”

Have more romantic sweet nothings ever graced the screen? Scripted by Grace Glowicki and Ben Petrie (partners in life and in filmmaking), these words of seduction are music to the ears of a lonely Gravedigger (Glowicki), who has been formulating a perfume to cover up her corpse-like stench. What she discovers is that the right one will love her exactly the way she smells, learning that she’s not so pheromonally challenged after all.

Glowicki’s sophomore feature “Dead Lover,” sometimes presented in “Stink-O-Vision,” is one of those entirely singular freakouts that we can thank Telefilm Canada for subsidizing (see also: the Cronenberg family oeuvre, Matt Johnson’s current “Nirvanna the Band the Show the Movie” and many more).

She co-writes, directs and stars in this highly stylized, wonderfully DIY handmade project, beautifully designed with gruesomely gothic sets by production designer Becca Morrin and art director Ashley Devereux. The blend of intentional artifice paired with deep emotion calls to mind other Canadian auteurs like Guy Maddin and Matthew Rankin (“The Twentieth Century”), but Glowicki’s film also exists within another lineage: the feminist Frankenstein film.

The film opens with a quote from Mary Shelley: “There is something at work in my soul which I do not understand.” Her 1818 novel “Frankenstein: or, the Modern Prometheus” has always been a feminist text (despite Guillermo del Toro’s more bro-ey adaptation), grappling with the terrifying power of creating life — and how close that is to death. Feminist filmmakers have drawn out these inherent themes from the book, the most recent and loudest example being Maggie Gyllenhaal’s “The Bride!” But “Dead Lover” hews closer to Laura Moss’ modern medical take, “birth/rebirth,” and even more closely to Zelda Williams’ cute, poppy “Lisa Frankenstein,” in which a young seamstress stitches up a reanimated boyfriend.

Our Gravedigger speaks to us, and to the moon, about her heart’s desire in charming cockney rhyming slang. Her hopes are rather simple and conventional: one true lifelong love and a family. After much rejection, she finally finds her Lover (Petrie) in the cemetery, saving him from a ferocious beast while he mourns his late opera-singer sister (Leah Doz). After the pair consummate their fragrant lust, the Gravedigger is ready to settle down right away.

In order to make her dreams come true, Lover travels to Europe for fertility treatments, where he drowns on a ship, the only thing left of him a finger, delivered to her by fishermen. Our enterprising Gravedigger, a true woman of science, engineers a lizard elixir and regenerates the finger into a long tentacle that eventually demands a body. What better choice than his own sister? But when her wild new Creature (Doz) comes to life, all hell breaks loose, summoning the sister’s jealous, grief-stricken Widower (Lowen Morrow) into an unfortunate love triangle (or square?).

Glowicki is a terrific filmmaker, marshaling her tiny troupe to execute this unique project. Petrie, Doz and Morrow play multiple roles, including a gossipy Greek chorus and the band of merry fisherman (truly an astonishing array of Canadian accent work on display). Her commitment to her singular vision never wavers, but as an actor, Glowicki is truly astonishing. Caked in Halloween makeup and lit with an array of colored gels, Glowicki summons something primal, pure and deeply moving about the lengths one will go to for love, a screech from the depths of her gut.

With a dream-pop soundtrack by U.S. Girls that would be at home in an episode of “Twin Peaks,” “Dead Lover,” in all its stinky, sexy, queer and grotesque glory, is one of the grossest and loveliest films about love I’ve ever seen. This one’s for the horny, hopeless goth inside all of us.

Before becoming a global phenomenon in the 2000s thanks to artists like Aventura, Monchy y Alexandra and Prince Royce, and before being declared an “intangible cultural heritage of humanity” by UNESCO in 2019, bachata was — and continues to be — the soundtrack of the Dominican Republic.

The importance of the genre to the people of the Caribbean nation is at the heart of “Agridulce,” a music documentary that had its world premiere at this month’s South by Southwest Film Festival in Austin, Texas. Filmed over the course of five years, the feature follows four young students at Academia de Bachata, a music conservatory in the beachside resort town of Cabarete. It’s the only school of its kind in the world.

Academia de Bachata was founded in 2013 by music producer Benjamin De Menil. After traveling to the Dominican Republic to record for nearly three decades, De Menil says he wanted to create something that would ensure that the next generation continues the traditions of bachata.

“One of the things I loved about the bachata musicians I was working with early on is that they were such natural musicians. There was never any sheet music, so whenever we were going to record I would say, ‘Let’s do this song and it goes like this,’ and they would listen to it for a little bit before they figured it out and they were playing it,” he said. “I thought that we could somehow harness that energy in a more organized and educational format and make a school where we’re helping young children become professional musicians within this genre that has a lot of opportunity.”

De Menil partnered with DREAM Project, a nonprofit organization that did work in Cabarete, and launched Academia de Bachata in 2013. Since then, the school has provided hundreds of children with a free musical education.

“There were a lot of things we were trying to figure out along the way about what the best way to teach this music was because this wasn’t your typical conservatory. We were focusing on the traditions passed on rather than some style of music that there are already textbooks for.”

To make “Agridulce,” De Menil, who produced the film, reached out to Frank Pavich, director of the 2013 “Jodorowsky’s Dune,” the cult classic documentary about avant-garde filmmaker Alejandro Jodorowsky’s quixotic and failed attempt to adapt Frank Herbert’s 1965 sci-fi novel “Dune.” It didn’t take much to bring him on onboard.

“Ben contacted me and told me about the project. I responded with what’s Bachata?,” the Croatian American director said. “I had never even heard of the musical genre. And then he sent me some music. He sent me footage that he had shot of [Cabarete] and of the school. And it was unlike anything I’d ever seen. It was so colorful and so incredible that I just wanted to jump on right away. I was like, ‘Great, when can we go down there and start shooting? It was really that fast.”

Pavich says now he hears bachata everywhere.

“I live between Switzerland and Croatia and now that I know how to pick it up, I hear it in cars passing by a cafe in Geneva and in Croatia,” he said. “It’s everywhere, it’s infiltrated everything in the best way possible.”

“Agridulce” is an ethnomusicological documentary — it captures the music of a specific place and people and shows how the tradition is kept alive — that also doubles as a coming of age story. The film follows students of varying ages — Edickson, Frandy, Orianny and Yerian — out of the classroom, showing us moments of intimacy with their families and friends while also giving us a slice of quotidian life in Cabarete.

As such, “Agridulce” doesn’t shy away from the political tensions of the beachside resort. Much like in the U.S., immigration is a contentious topic in the Dominican Republic — the country shares the island of Hispaniola with Haiti, which has seen an exodus of its people over the decade.

De Menil and Pavich said that nearly a third of Academia de Bachata’s student body is of Haitian descent, and that they would have had to go out of their way to not include one of them in the film.

This tension plays out in the storyline of Frendy, a magnetic student of Haitian descent who uses bachata to fit in.

“Many young people are in that position of being made to feel they don’t belong at that time in life when a person most wants to find their place,” De Menil said. “We see that music can help kids, particularly immigrant kids, find belonging.”

“The film ultimately speaks to the way that culture and shared history contribute to the development of authentic, lived creativity,” said South by Southwest consulting programmer Jim Kolmar. “It’s something innate and inevitable, and ‘Agridulce’ really explores that beautifully. Obviously it’s full of incredible music, but the deeper cultural context is essential, and seeing it through the perspective of the students at Academia de Bachata helps us connect the dots.”

Victoria Pedretti was fresh out of Carnegie Mellon University’s School of Drama when she was cast in Mike Flanagan’s acclaimed 2018 horror series, “The Haunting of Hill House.”

In her breakout role as Nell Crain, the youngest and most sensitive of five adult siblings reckoning with wounds from a childhood summer spent in a cursed home, Pedretti became the undisputed heart of “Hill House,” anchoring the show with a spellbinding performance that christened her as a scream queen. Her subsequent appearances in “The Haunting of Bly Manor” and “You” were characterized by a similar dramatic intensity, solidifying her renown in the horror genre.

But in Pedretti’s new “Forbidden Fruits,” a horror-comedy directed by Meredith Alloway making her feature debut and produced by “Jennifer’s Body” screenwriter Diablo Cody, the actor shines in all-new soapy splendor.

Set in a Dallas shopping mall, “Forbidden Fruits” revolves around an elite clique of retail employees who run a witches’ coven out of the basement of their boho boutique Free Eden. Pedretti stars alongside Lili Reinhart, Lola Tung and Alexandra Shipp.

Victoria Pedretti in the movie “Forbidden Fruits.”

(Sabrina Lantos / Independent Film Company and Shudder)

Initially asked to look at both the roles of whimsigoth physics buff Fig and the bubbly yet emotionally complex Cherry, described by Alloway as a “Texas Brigitte Bardot,” Pedretti fell hard for the latter.

“She really popped off the page,” Pedretti, 31, says on a recent Zoom interview she takes while on a sandwich run in L.A. “I entered into this glorious flow state.”

“I can’t say I’ve had any experience quite like it, where I really didn’t spend a lot of time questioning myself,” the actor says. “She kind of took over.”

That confidence was perhaps the product of Pedretti performing in two stage plays before “Forbidden Fruits” — or maybe it was the nighttime filming schedule. Either way, Pedretti says she improvised constantly and always kept swinging until somebody said, “Cut.”

The result: Pedretti in Alloway’s instant cult classic is a laugh-out-loud-funny unending well of charm, packing humor into even her most routine dialogue. In her best quotable moments, she seamlessly infuses her sometimes shrill timbre with a dash of Southern drawl. One of her most iconic facial expressions in the film is already circulating as a reaction meme online.

“I was enjoying being in this character so much, I just wouldn’t stop,” Pedretti says, adding that Alloway, who was sensitive to cast members’ interpretations of their roles, supported experimentation.

Alloway praises the Philadelphia-born Pedretti for nailing Cherry’s comedic moments yet also grounding the character in a traumatic backstory — a balancing act the director knew she was capable of after watching “Hill House.”

“I saw her in that show and I was like, ‘Who is that?’” Alloway says. “She is magnificent and so raw. I didn’t feel like I was watching someone acting. I was worried for her.”

After later watching Pedretti nail her role in “You” as Love Quinn, a wealthy, charismatic chef who hides a psychopathic nature, Alloway was convinced of her star power.

Victoria Pedretti in the movie “You.”

(John P. Fleenor / Netflix)

Cody was most familiar with Pedretti’s performance in “You,” pegging the actor as an “intense brunet” that didn’t square at first with her interpretation of Cherry as an Anna Nicole Smith type.

“Then I see the movie and I’m like, oh my God, she has that fragility,” Cody recalls. “She has that humor. She has that sexuality. She has all of it.

“Victoria brought all of those layers and I’m really blown away by her,” the Oscar-winning “Juno” screenwriter adds.

Cody says she wasn’t surprised that the film drew such talent. From the moment Alloway and Lily Houghton, who wrote the play “Forbidden Fruits” is based on and cowrote the film’s screenplay, brought the material to Cody and her producing partner Mason Novick, she became obsessed.

“It feels spiritually like a film that I would want to be part of my body of work,” Cody says. She remembers being especially delighted by the echoes of “Jennifer’s Body” present in Alloway and Houghton’s screenplay.

“Jennifer’s Body” was widely considered a box-office flop and critical failure upon its release in 2009 — grossing only $31 million worldwide against a $16-million budget — but in recent years has enjoyed a reappraisal as a stealth-feminist essential, reclaimed by superfans.

“I don’t think that the world was ready for these kinds of themes,” Cody says of the movie’s ideas, including the cost of toxic femininity, the nuances of female friendship and the pervasiveness of the male gaze.

When it came to promoting “Jennifer’s Body,” the producer adds, “there was a huge emphasis on trying to market it to straight men, based on Megan [Fox] being attractive, and that was not at all the point of the film, so that was frustrating.” Conversely, “Forbidden Fruits” speaks intimately to the female experience and “doesn’t attempt to pander to any other demographic.”

“The current zeitgeist is a great place for a movie like this,” she says. “This movie is for the girls, gays and theys, as they say.”

Alloway, a trained actor who worked as a film journalist before moving into directing, was struck with a similar feeling when she first discovered Houghton’s play, right around the time she was consuming copious media about women criminals, such as Tori Telfer’s 2017 book “Lady Killers: Deadly Women Throughout History.”

“I was so entrenched in why women commit acts of crime,” Alloway said, adding that she was disappointed to find that revenge films on the subject still often revolved around men.

Picking up Houghton’s script, the director recalls feeling relieved. “Oh, this is just about women,” she says, her face brightening. “This is about women friendships, women being pitted against each other.”

In an early meeting with Houghton, Alloway told the playwright she’d like to bring a genre lens to “turn up the dial on the emotions that you feel reading the play and make them accessible to people who haven’t had these experiences — or validate people who have.”

Outside of the opportunity to work with so many other young women, Pedretti said she was drawn to “Forbidden Fruits” because of its use of style and tone.

“It asks a lot of people to try to step into a world like this one,” the actor says of the unabashedly histrionic screenplay. “And as nerve-racking as it may be to take that big swing, you gotta take the big swing.”

“She has that fragility,” says producer Diablo Cody of Pedretti. “She has that humor. She has that sexuality. She has all of it.”

(Evelyn Freja / For The Times)

And swing she does: Pedretti plays up Cherry’s emotional volatility, giving her a full-bodied form of expression. The actor even did her own onscreen makeup (as did Reinhart) and collaborated heavily with costume designer Sarah Millman on Cherry’s wardrobe and styling. Plus, she performed her first topless scene — in a sequence that doesn’t involve men or even sex.

“I’m really proud of the way we use nudity to show a certain kind of unspoken comfortability among women,” she continues. “I remember always getting such a thrill at the comfort level of a girl being like, ‘We’re going to the bathroom together,’ and to me, that is that moment.”

It’s a perfect example of a scene that doesn’t try to speak to anyone except those it’s specifically written for, and one that you only get with women at the helm of a production.

Reflecting on the agency she had to shape Cherry, Pedretti says she is more inspired to explore directorial projects of her own.

“I am so interested in protecting these spaces to be positive, creative experiences for everyone involved,” she says.

Whenever Pedretti does make her feature debut behind the camera (she’s already made a short or two), perhaps Cody will pick up the phone.

After 50 years of being practically synonymous with New York City, “Saturday Night Live” has opened the door to London with “Saturday Night Live UK,” following in the steps of “Law & Order UK” and possibly nothing else. Of all the cities in the world that might conceivably replicate the spirit of the NBC original, the British capital, with its urban dynamism, media concentration and 20,000 comedians, feels like the obvious, and perhaps only, choice. (“Saturday Night Live Italia” might prove me wrong, if that day ever comes.) And, of course, we’ve been in a reciprocal comedy arrangement with Britain — or at least we have been nicking their ideas for shows — for years.

The show premiered in the U.K. this past Saturday on Sky One and NOW, and began streaming stateside Sunday on Peacock, with our own Tina Fey as the first guest host. (“It’s an absolute honor and kind of historic,” she said to studio audience. “Guys, I am the youngest person to ever host ‘SNL UK!’”)

As a “Saturday Night Live” star, writer and head writer; and the co-creator of “30 Rock” — her show about a sketch show set in the very same building as “SNL” — they couldn’t have appointed a better ambassador. Lorne Michaels doubtless has her on speed dial.

Here’s the short review: In the course of a single episode, “SNL UK” managed to feel very much like its parent show — which is to say, some of it worked well and some of it worked less well, but very little of it didn’t work at all. There were sketches that ran too long, or ended weakly, but were generally redeemed by a young(ish), confident 11-member cast that made the most of them. Some will already be recognizable to British viewers. Many have had notable, or anyway noticed, careers in stand-up; in the sort of stand-up that amounts to theater; in straight theater (including Shakespeare, naturally) and/or in television and film. Fey promised to “stay out of their way as much as possible,” but she came to play, and appeared in most every sketch.

The evening followed established protocol. Cold open. (Prime Minister Keir Starmer, played by George Fouracres, is afraid to tell President Trump, whom he regards as a sort of bad boyfriend, that he’ll send no more ships to the Strait of Hormuz: “I know how badly you want to start World War III, and that’s great. You absolutely do that but we can’t be part of it.”) Hammed Animashaun and Jack Shep accompanied Fouracres in the sketch and shared the glory of shouting, “Live from London, it’s ‘Saturday Night!’” They would continue to dominate the episode.

Jack Shep, George Fouracres and Hammed Animashaun in the “SNL UK” cold open, set at 10 Downing Street, in the prime minister’s office.

(NBCUniversal)

Next: Opening credits featuring the cast members out and about in the city. Monologue, with guest appearances from Nicola Coughlan, Michael Cera and Graham Norton. (The set is very much in the style of various American iterations over the years, clock included, with the band onstage.) Film bits and sketches. Musical guest. (Wet Leg, surly.) “Weekend Update.” More skits. Musical guest returns. More comedy. Whole cast onstage at the end, ready to party.

Among other things: A Shakespeare skit found the Bard (Fouracres again) returning to Stratford from London between plays, each time more affected, beginning with an earring and finishing with an electric scooter, sunglasses and a bag of ketamine. A Paddington Bear immersive experience, with an actual bear, turns bloody, recalling Dan Aykroyd’s 1978 classic Julia Child sketch. As a bra salesperson giving an ego boost to Fey‘s customer, Emma Sidi was funnier than the sketch she was in. (It did include a cameo by Regé-Jean Page, from “Bridgerton.”) In another, David Attenborough (Fouracres again, again), using “Jurassic Park” technology, hosts a “last supper” featuring great dead Britons including Winston Churchill, Isaac Newton, Agatha Christie (Fey), “Freddie Mercury, from Queen, Elizabeth the First, from being the Queen,” and Shep’s Princess Diana, pulling focus at Attenborough’s right shoulder; all they manage to discuss is how many starters to get for the table. It had the added bonus of getting the entire cast, and guest host, onstage.

The film bits were first-rate. (Not being live has its advantages.) One advertised an anti-aging cream — Undérage, with a soft “g” — “that works so well everyone will think your man is a nonce.” (That is, a pedophile.) “My skin looks so fresh,” says a happy customer, “my husband can’t go anywhere without being hunted by right-wing pedophile-catching militias.” “My husband lost his record deal and, some, but not all of his fans.” Another concerned a sort of command center where workers labored “to make the internet as bad as we can possibly get it.”

There are, to be sure, tonal differences to British and American comedy; just compare the respective versions of “The Office,” or “Ghosts,” or “Doc Martin” with its domestic remake, “Best Medicine”; the former tends to be darker, more cutting, more absurd. (A “Weekend Update” joke about the former Prince Andrew’s new home, Marsh Fair, “of course named after the nearby marsh where his body will be found.”) Despite that, and the old saw that Britain and America are two countries separated by a common language, the show translated well transatlantically. Apart from some local topical and cultural references, and an occasional unfamiliar word whose meaning was in any case obvious from context, and some swearing, most of it could have been played with few adjustments by the American cast.

“While we may not agree with everything America does,” Fouracres’ prime minister says at the end of the cold open, “we can still be civil and embrace their wonderful, unproblematic culture.” Back at you, buddy!

The season has been extended to eight episodes from the originally ordered six. (Riz Ahmed and Jamie Dornan are scheduled to host.) Why not 10?

Valerie Perrine, the Las Vegas showgirl turned Oscar-nominated actor best known for playing Lenny Bruce’s wayward wife Honey Harlow in “Lenny” and Lex Luthor’s secretary Eve Teschmacher in the 1978 and 1980 “Superman” films, died Monday morning. She was 82.

Perrine’s death was confirmed by Stacey Souther, her close friend and the director of the 2019 documentary “Valerie,” which followed the star’s debilitating battle with Parkinson’s disease.

“It is with deep sadness that I share the heartbreaking news that Valerie has passed away,” Souther announced on social media. “She faced Parkinson’s disease with incredible courage and compassion, never once complaining. She was a true inspiration who lived life to the fullest — and what a magnificent life it was. The world feels less beautiful without her in it.

“I love you, Valerie. I’ll see you on the other side.”

Souther also shared a GoFundMe link and a note that Perrine’s final wish was to be laid to rest at the Hollywood Hills Forest Lawn Cemetery. “After more than 15 years of fighting Parkinson’s, her finances are exhausted.”

Perrine was born Sept. 3, 1943, in Galveston, Texas, to parents Renee and Kenneth, a dancer and a U.S. Army lieutenant colonel. A military brat growing up, Perrine moved frequently and spent time in Japan, Paris and Scottsdale, Ariz.

She attended the University of Arizona, but her academic aspirations were short-lived. She skipped town, trading her textbooks for a feather headdress and G-string in Las Vegas. Soon she was a lead dancer in the star-spangled Lido de Paris show at the Stardust Hotel. She told the New York Times in 1974 that she spent some of her $800 weekly paycheck on experimenting with drugs: acid, mescaline, peyote, cocaine — you name it, she tried it.

Eight years after her foray into Vegas showbiz, her movie career kicked off unexpectedly during a visit to Hollywood. An agent at a friend’s dinner party took a liking to her, she told the Los Angeles Times in 2013. He asked if she had any publicity photos. The only one she had was in her topless Lido costume.

The sexy picture made its way to the desk of Monique James, the head of new talent at Universal. “She called me in and asked if I had ever acted before and I said ‘no,’” Perrine said. “She arranged a screen test.”

Paul Monash, the producer of “Slaughterhouse-Five,” which was based on Kurt Vonnegut’s acclaimed novel about World War II and time travel, directed the screen test. “They told me to wear a bikini because they wanted to see what my body looked like. I didn’t have a bikini. I wore my G-string and that was it.”

“I had been working in Vegas all the time and had been on the beach in St. Tropez, so being [naked] didn’t mean anything to me,” she told The Times. “It was my attitude that sparked his interest and the way I read the line, ‘Oh, you’re a moon child.’ He hired me.”

Dustin Hoffman as Lenny Bruce, left, and Valerie Perrine as Honey Harlow in a scene from the 1974 movie, “Lenny.”

(United Archives via Getty Images)

Soon after, she portrayed the love interest of NASCAR driver Junior Johnson opposite Jeff Bridges in the 1973 sports drama “The Last American Hero.” Perrine and Bridges dated briefly while working on the film. The same year she became the first woman to bare her breasts on television in the PBS telefilm “Steambath.”

Bridges described Perrine in the 2019 documentary “Valerie” as having a “real sense of fun and play.”

“She was excited about life and excited where she was and it’s a contagious feeling,” he said. “Growing up in a military family and traveling all over the world made her a really interesting person and as an actress, she had the ability to bring all of that into her performances.”

In 1974, she tapped into her showgirl background to portray the drug-addled stripper Honey Harlow opposite Dustin Hoffman as Lenny Bruce in the biopic “Lenny.” Her performance garnered rave reviews. She nabbed the lead actress award at the Cannes Film Festival, BAFTA named her most promising newcomer and she was nominated for an Oscar.

Perrine was perhaps best known for her portrayal of Eve Teschmacher, Lex Luthor’s secretary and love interest in the 1978 “Superman” starring Christopher Reeve, Gene Hackman and Marlon Brando. She played the role again in 1980’s “Superman II.”

She also starred in the 1980 disco flick “Can’t Stop the Music” alongside the Village People and Caitlyn Jenner. The movie flopped and Perrine was so mortified by the film’s poor reception that she moved to Europe. She didn’t officially retire from acting until around 2010, and by 2015 she had gone public with her Parkinson’s disease diagnosis.

The 2019 documentary short “Valerie,” directed by Souther, dropped the veil on Perrine’s battle with the illness, with her loss of bodily autonomy captured in the film. She said “the shakes” caused her to struggle and the level of care she required made her feel like a baby.

Still intact, though, were her sharp wit and self-deprecating sense of humor. In the film a doctor explains that there are times when physicians aren’t able to pin down a diagnosis or there are multiple diagnoses.

“The doctors don’t know what’s going on with me,” Perrine says. “They can’t figure it out.”

“What do you think it is?” the doctor asks Perrine.

“Karma,” she quips.

Space isn’t a forgiving place to be stuck. There’s no air, no pulling over for directions and no margin for error. When something goes wrong, you’re left with whatever you have on hand for however long you can make it last.

That fear drives the new sci-fi epic “Project Hail Mary,” opening in theaters Friday, with Ryan Gosling as Ryland Grace, a middle school science teacher who wakes up alone on a spacecraft light-years from Earth with no memory of how he got there. Gradually he realizes he’s been sent on a mission to figure out why the sun is dimming and how to stop it. What begins in isolation turns into something closer to a buddy movie, as Grace ends up working with an alien he names Rocky, another traveler trying to solve the same problem.

The film, directed by Phil Lord and Christopher Miller, comes from sci-fi author Andy Weir, whose earlier, similarly survival-themed breakthrough novel “The Martian” was adapted by director Ridley Scott in 2015. That movie put Matt Damon alone on Mars and made the act of thinking through one life-or-death problem after another the engine of the story. The result was a critical and commercial hit that earned seven Oscar nominations, including best picture.

Put someone out in space long enough and the story can go in many directions. Sometimes it’s about survival. Sometimes it turns inward. Sometimes it gets more horrific or even darkly comic. Here are eight of our favorite movies about people lost or stranded in space. Watch them somewhere with plenty of oxygen.

The Ryan Gosling-led “Project Hail Mary” rocketed to the top of the box office this weekend, marking a big win for Amazon MGM Studios.

The film — which stars Gosling as a science teacher who embarks on a space mission to save humanity — hauled in $80.5 million in the U.S. and Canada, making it the biggest domestic debut of the year so far. Globally, “Project Hail Mary” brought in $140.9 million.

The movie is an adaptation of a novel by Andy Weir, author of “The Martian” — another successful book-to-screen adventure. The big opening weekend for “Project Hail Mary” is a boost for Amazon MGM Studios, which had heavily promoted the film as an example of the big blockbusters it could produce.

“We believe deeply in the Hail Mary, and it’s clear audiences do as well,” Kevin Wilson, head of domestic theatrical distribution for Amazon MGM Studios, said in a statement. “What we’re seeing in theaters —the energy, the exit scores, the word of mouth — is everything we believed this film would deliver.”

Walt Disney Co. and Pixar’s “Hoppers” came in second at the box office this weekend with a domestic total of $18 million. The original animated film has now garnered $120.4 million in the U.S. and Canada since it debuted in theaters earlier this month.

Indian action film “Dhurandhar The Revenge” came in third with $10 million, followed by Disney-owned Searchlight Pictures’ horror film “Ready or Not 2: Here I Come” and Universal Pictures’ romance “Reminders of Him” rounding out the top five.

Should Paramount Skydance prevail in its $111-billion takeover of Warner Bros. Discovery, the Larry Ellison family would control two historic Hollywood film studios, dozens of cable channels, HBO and two legendary newsrooms, CBS News and CNN.

Concerns about the potential loss of more Hollywood jobs, and questions about newsroom independence dominated a hearing Friday to address Los Angeles’ crisis of shrinking film and TV production jobs.

Paramount wants to wrap up its Warner merger by September — a rapid timetable. The takeover deal, which was struck last month after Netflix bowed out, would put HBO and CNN under the control of Larry Ellison and his son David, the chairman of Paramount, which includes CBS.

Both Ellisons maintain friendly relations with President Trump. Those bonds, along with challenges to legacy media and changes at CBS News in recent months, sparked handwringing during the hearing called by Sen. Adam Schiff (D-Burbank) and Rep. Laura Friedman (D-Glendale).

“The questions surrounding this merger go beyond jobs, contracts and consumers,” Schiff said. “They also go to editorial independence of two of America’s most significant news organizations, CNN and CBS News.”

Trump has long agitated for changes at CNN, and members of his cabinet, including War Secretary Pete Hegseth, have openly cheered for an Ellison takeover of CNN.

To pave the way for the Ellisons’ purchase of Paramount, the company paid $16 million to Trump last summer to settle his lawsuit over edits to a “60 Minutes” interview with Kamala Harris in October 2024. Most 1st Amendment experts had deemed Trump’s suit “frivolous.”

Since the Ellisons took the helm, there has been a change in direction at CBS News and a reduction in its size and scope. Staff members at CNN are bracing for similar changes, including to the tone of its newscasts.

In addition to the long-term health of Los Angeles’ film economy, the merger’s fate could determine “whether we have state sponsored media … or whether we have journalists who can truly follow the story,” Friedman said.

A Paramount spokesperson declined to comment.

The deal is currently before regulators in the U.S. and abroad.

Paramount Chairman David Ellison has vowed to “build a stronger Hollywood,” by increasing the creative output of the two legendary movie studios — Paramount and Warner Bros. — to 30 theatrical releases a year. Warner Bros., which owns such prominent franchises as “The Matrix,” Batman, Harry Potter, “The Big Bang Theory,” and “Friends,” has long been one of Hollywood’s most prolific studios.

But Paramount has suffered from years of under-investment and Ellison and his team have been working to boost the film pipeline.

Ellison has also pledged to keep both studio lots and preserve HBO.

“HBO will continue to operate independently under our ownership, enabling it to create more of the world-class content it is renowened for,” Ellison wrote in the Feb. 28 letter to Schiff and Friedman, responding to their concerns about consolidation.

During Friday’s hearing, the lawmakers turned to former CNN anchor Jim Acosta, who famously jousted with Trump during his first term, for his reflections. He was asked whether any “guardrails” could protect against potential merger harms.

“If this merger goes through, the guard-rails are gone,” Acosta said bluntly. “If we continue to go down this road it will be lights-out for the news industry… We need media options that are not controlled by the wealthiest and most powerful people in the country.”

The hearing occurred the same day that CBS News imposed another sweeping round of layoffs and disbanded its CBS News radio network. It also came the same week as Trump’s Federal Communications Commission approved a massive television station merger, which will allow Texas-based Nexstar Media Group to control more than 250 stations, despite a legal challenge from state attorneys general.

The proposed Paramount-Warner merger would prompt at least $6 billion in cost savings, according to Paramount. Industry veterans warn that billions more in cuts may be necessary to make the deal math work.

A combined Paramount-Warner would carry nearly $80 billion in debt, a legacy of the proposed leveraged buyout and the mergers that came before it.

The hearing at Burbank City Hall —“Lights, Camera, Competition”: Promoting American Film Production,” — was wide-ranging. Award-winning actor Noah Wyle, the star and a producer of Warner Bros.’ “The Pitt,” discussed the need to bring more productions back to Los Angeles where thousands of out-of-work film professionals have been suffering. “The Pitt” is filmed in Burbank.

“Over the last six years, the aggregate effect of projects leaving the state in search of tax credits, the pandemic and last year’s fires has been a near cratering of our once thriving industry,” Wyle said. “We lost 42,000 film and TV jobs between 2022 and 2024.”

The hearing unfolded down the road from the massive Warner Bros. studio complex, and was held to explore ways to boost the Hollywood economy, including the potential for a national tax credit under consideration in Congress. The campaign is intended to keep film jobs in the U.S. amid an increased migration to Britain, where Warner Bros. maintains an expansive studio complex in London, and other countries that offer generous subsidies.

“Work in the entertainment industry is precarious,” said Matthew D. Loeb, International President of the International Alliance of Theatrical Stage Employees (IATSE). “Past studio mergers have meant fewer jobs.”

California’s economy might see a boost from the state’s expanded film tax credits, but local lawmakers say it’s not enough.

Despite Gov. Gavin Newsom authorizing a $750-million film and TV tax credit program last summer, the impending merger between Paramount and Warner Bros., and the projected budget cuts that are expected to follow, has reignited fears about Hollywood jobs and U.S.-based productions.

“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” U.S. Sen. Adam Schiff (D-Calif.) said during a news conference Friday morning.

“We must act, and the urgency could not be greater,” he said. He revealed he is working on a bipartisan federal film incentive proposal that would be competitive with what other countries are offering for film productions.

He said the program isn’t about Hollywood’s stars; it’s about the jobs that productions create, including roles for set designers, carpenters and lighting crews.

“These are the people who make that magic happen. We want to keep those jobs here, and many of us are deeply concerned about what this potential merger will do to those jobs,” Schiff said.

Earlier this week, the California Film Commission revealed that 16 shows had recently received tax credits for filming in the state. The projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. Schiff said the state tax credit has generated more than $29.1 billion in motion picture production wages and supported more than 220,000 jobs.

Even as shows start to see gains in Southern California, Los Angeles film activity was still down 13.2% from July through September when compared with the same period in 2024. The downward trend extends the loss of 42,000 jobs in L.A. between 2022 and 2024, the continued suffering of local sound stages and the offshoring of productions internationally.

“Federal policymakers must act to level the playing field and make the U.S. film and television industry more competitive on the global stage,” said Matthew Loeb, the president of the International Alliance of Theatrical Stage Employees. “A globally competitive labor-based and tax incentive is. For us, production that supplements state incentives is essential to return and maintain film and television jobs in America.”

HBO Max’s medical drama “The Pitt” is filmed at one of Warner Bros. soundstages in Burbank and it’s one of the shows benefiting from California’s tax incentive.

Noah Wyle, the star and executive producer of the show, said during the news conference that “it’s really hard to shoot a TV show in Los Angeles, and it’s really expensive, prohibitively” — so adopting an economic model that allows productions to take full advantage of the California tax incentive was essential to “The Pitt” filming in L.A.

“As an Angeleno with generational roots to this city and as a seasoned member of its creative community, advocacy for Los Angeles-based production is something that is very close to my heart,” Wyle said.

“‘The Pitt’ has blessedly become proof of that speculative concept. I’m happy to report we’ll commence shooting season three this summer, and that a rising tide has indeed lifted all boats in season one under the 3.0 tax program,” he added.

The show received a 20% tax rebate on many above-the-line costs. The budget for one episode was approximately $6.6 million, so the show received a rebate of about $760,000 per episode. By the end of season one, the production was able to save over $11 million. Wyle estimated that the first season of “The Pitt” contributed around $125 million toward California’s gross domestic product.

Rep. Laura Friedman (D-Glendale), who is working with Schiff on production tax incentives, said that because California is already seeing benefits from the current program, there’s no reason it wouldn’t work nationally. Friedman added that tax incentives are a common practice among many industries in the U.S.

“Hollywood is not asking for special treatment. Whether it is computer chips, the energy sector or pharmaceuticals, this is something that is standard in the United States,” said Friedman. “In terms of our nation, Hollywood and its ability to tell the story of America, it is something worth saving.”

Walt Disney Co. installed Josh D’Amaro as chief executive Wednesday, beginning a new chapter for the storied Burbank entertainment giant.

Bob Iger passed the reins during Disney’s virtual annual meeting of shareholders, completing the company’s high-stakes and tightly choreographed changing of the guard. After spending two decades molding Disney into a media colossus, Iger segued into a senior advisory role, which will run through December when he officially retires.

The leadership shift comes amid an upheaval in Hollywood as traditional companies wage a desperate battle for survival.

D’Amaro, in his first address to shareholders, pointed to Disney’s signature storytelling as its competitive edge.

“While others in our industry are consolidating just to compete, or struggling to be relevant in a fragmented and disrupted world, Disney is in a category of one,” D’Amaro said during a video segment at the meeting. “This next chapter will be driven by staying focused on world-class creativity, enhanced by technology, bringing unforgettable stories to audiences wherever they are.”

D’Amaro, 55, becomes the ninth leader in Disney’s 102-year history. He was selected last month by Disney board members after a two-year internal bake-off among high-ranking division leaders. Board members were impressed with his business acumen, charisma and his deep love for Disney and its fabled history.

D’Amaro inherits a company that is beloved by millions. It generates $94 billion a year in revenue and employs 230,000 people.

He faces enormous challenges as he steers the ship through a turbulent media environment and tense geopolitics. The war in Iran prompted a sharp increase in fuel costs, which could become a drag on Disney’s critically important tourism business. Executives already have signaled “headwinds” in international visitation at its U.S. theme parks this year.

Lingering Middle East tensions also could weigh on Disney’s plans for a new Persian Gulf waterfront theme park and resort near Abu Dhabi.

D’Amaro, who served as parks and experiences chief until Wednesday, got his corporate start at Disneyland 28 years ago.

“Like so many of you, my connection to Disney goes back to my childhood, long before I began my career here,” D’Amaro told shareholders. “I grew up in a Disney family. We watched ‘The Wonderful World of Disney’ on Sunday nights. I was 10 years old when my family visited Disneyland for the first time. … Disney has always been a place of imagination, innovation and infinite potential.”

Disney previously announced a $60-billion, 10-year expansion program, which D’Amaro has led. But executives must strike a balance by keeping attractions true to their nostalgic core. In Anaheim, the expansion could result in at least $1.9 billion of development.

Disney also must continue to grow its animation business and manage revenue declines from its traditional linear television channels, including ESPN and ABC. It needs to turbocharge its streaming services with compelling movies and TV shows to remain competitive with Netflix and other leaders in the field.

Disney teased upcoming fan favorites, including the May release of Lucasfilm’s “Star Wars: The Mandalorian & Grogu,” a “Bluey” feature film (the kids show featuring an animated puppy, a blue heeler) and a sequel to a “Lilo & Stitch” film for 2028.

Streaming is key to Disney’s future, D’Amaro said.

“Disney+ will continue to evolve beyond a traditional streaming service to become the digital centerpiece of our company,” D’Amaro said, calling the service “a portal that connects our stories, experiences, games, films, and more in entirely new ways.”

The company plans to unify Disney+ and Hulu later this year.

Disney also must continue to incorporate technology while safeguarding its characters and franchises.

“We will continue to develop and embrace new technologies to empower our storytellers — but never at the expense of our characters and worlds, our creative partners, or the trust people place in us,” D’Amaro said. “Because Disney at its core is a company that celebrates human creativity.”

Wednesday also marked a reorganization of the company, configured by Iger, D’Amaro and Disney’s board.

Board members recognized that D’Amaro, who has spent most of his career in the parks division, lacks deep connections among Hollywood’s writers and producers. They elevated longtime television executive Dana Walden, who had been vying for the top job, to the newly formed role of chief creative officer and the company’s first woman president.

ESPN will continue to be managed by Jimmy Pitaro and Disney Entertainment, Studios chairman Alan Bergman will remain in his influential role overseeing film studios including production, marketing and distribution, and sharing oversight for streaming programming with Walden.

D’Amaro’s total compensation package is valued at about $40 million a year, including a $2-million annual base salary, $26.2 million in annual long-term stock incentives, a cash bonus and a one-time promotion award of $9.7 million.

“Josh is a wonderful choice to lead the Walt Disney Co.,” Iger said in a pre-recorded video. “He has passion for our businesses and brands, respect for our people, and he appreciates what makes this company so unique.”

Iger is wrapping up an unprecedented 52-year career at ABC and Disney.

He first stepped into the CEO role in 2005; his first 15 years were almost magical.

Iger led acquisitions of Pixar Animation, Marvel Entertainment and Lucasfilm, the studio behind “Star Wars,” that turned Disney into a blockbuster machine. Sports king ESPN spawned staggering profits, and Disney’s theme parks set industry standards.

Disney’s former Chief Executive Bob Iger will stay on through the end of the year as a senior advisor.

(Jay L. Clendenin / Los Angeles Times)

His decision to buy much of Rupert Murdoch’s 21st Century Fox, a $71-billion deal that closed in 2019, boosted Disney’s television production, refreshed its TV executive bench, and provided a controlling stake in general entertainment streaming service Hulu. The acquisition also gave Disney access to fan-favorite franchises, including “Deadpool,” “The Simpsons,” and James Cameron’s “Avatar.”

But the purchase left Disney saddled with debt just as the COVID-19 pandemic prompted production shutdowns and closures at theme parks and sports venues. It would take several years for Disney to recover.

Iger initially passed the CEO baton to Bob Chapek in February 2020. Iger, then chairman, retired the following year but came back in November 2022 to a mess. At the time, the company was losing billions of dollars on its shift to streaming but that unit is now profitable.

Iger spent the next three years focusing on four business pillars, including improving the quality and profitability of its film studios.

During the last two years, Disney has produced five franchise films that racked up more than $1 billion in worldwide ticket sales, including “Inside Out 2,” “Zootopia 2,” and “Avatar: Fire and Ash.”

Disney and Pixar’s latest animated film “Hoppers” has hauled in $46 million at the domestic box office in its opening weekend, marking the highest theatrical debut for an original animated film since Disney’s 2017 success “Coco.”

The company is banking this year on several other films with blockbuster potential, including Disney and Pixar’s “Toy Story 5,” “Star Wars: The Mandalorian & Grogu” and Marvel Studios’ “Avengers: Doomsday.”

“I would want to be known as someone who was given the keys to this kingdom and brought it to a place that even Walt would be proud of — more storytelling, more innovation, more risk‑taking, and more creation of happiness,” Iger said during a “The Rest is History” podcast last year.

During the meeting, Iger appeared in a prerecorded video that celebrated his numerous career highlights. Shown were clips from his cub years when Iger was a newscaster with bushy black hair. His journey was depicted, including his orchestration of multi-billion-dollar acquisitions that strengthened Disney with more characters and franchises.

Iger, 75 and now gray, ended by thanking shareholders “for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving,” he said. “It has meant more to me than I can say.”

Animated pixie dust twinkled on the screen, courtesy of the fairy, Tinker Bell.

“Bob, on behalf of our employees, cast members, shareholders, and fans around the world, thank you so much for your tremendous leadership, your steadfast support, and your countless contributions to The Walt Disney Co.,” D’Amaro said, as the hand-off was complete.

“You’ve set an incredible example for all of us. … You will be missed,” D’Amaro said.

There was little fanfare during the business portion of the investor meeting.

The company’s slate of board directors were elected with 93% of the vote. Shareholders also approved executive compensation packages with about 85% of votes.

Shareholder-led proposals to compel reports on charities eligible for Disney’s gift-matching program, a review of the company’s accessibility practices in its theme parks for disabled guests, and a push for cumulative voting at future meetings all failed to muster support.

Disney shares closed at $99.41, down roughly 1% on the day.

Disney has a new captain, and his eyes are on the stars.

Taking over the reins from Bob Iger on Wednesday, new chief executive Josh D’Amaro signaled a bold shift for the entertainment giant: a future where emotional storytelling remains the “North Star,” but cutting-edge technology provides the fuel.

From ESPN to the Magic Kingdom, D’Amaro said in his first letter to employees as the top boss that his mission is to turn a century of nostalgia into a more personal, high-tech reality for fans worldwide.

“Used thoughtfully, it can empower our storytellers, strengthen our capabilities, and help us create more immersive, interactive and personal ways for people to experience Disney,” he wrote in the Wednesday morning note.

D’Amaro also said he wants the sprawling company, which includes film and TV studios, a tourism division, streaming services and live sports programming, to operate as “one Disney,” saying the global businesses all play a role in deepening consumers’ relationship with the Mouse House.

That connection people have with Disney’s brand is key to the company’s future. Consumers have more film, TV and experiences to choose from than ever, meaning Disney needs to distinguish itself among competitors.

To do that, D’Amaro plans to focus on the emotions consumers feel when they encounter Disney. As an example, he reminisced about his own first visit to Disneyland more than 40 years ago.

He recalled the joy on his father’s face as the two rode Peter Pan’s Flight together. And when they soared over the miniature version of London on the ride, he remembered his father leaning in and saying, “See, I told you. It feels like we’re flying!”

“That feeling of flying I had on Peter Pan all those years ago is still real to me,” he wrote in the Wednesday morning note. “And today, I am honored to move forward with all of you — with ambition, optimism, and absolute confidence in what we can build together.”

That new era also included a goodbye to Bob Iger, who handed over the reins Wednesday and now moves into a senior advisory role for the rest of the year before his planned retirement.

The company paid tribute to Iger in a video during Disney’s annual shareholders meeting Wednesday morning.

With clips from his earliest public appearances as Disney’s CEO, a highlight reel of the acquisitions the company made under his tenure and even a nod to his previous career behind the anchor desk, the video highlighted Iger’s legacy at the company and the role he played in bulking up Disney’s franchises, global theme parks, sports and streaming platforms.

When asked in the video about where he’ll go from here, Iger laughed and replied, “To Disneyland.”

In a pre-recorded speech, Iger said his time at Disney has spanned much of his life and that he never expected to become CEO of the company — much less twice.

“Over the years, we experienced extraordinary change and faced real challenges that were particularly profound in the last three years,” Iger said. “It was daunting at times, but through it all, what sustained me was the passion I saw every day from great storytellers, innovators, leaders and people around the world.”

In his parting remarks during that speech, he expressed confidence in the new leadership team of D’Amaro and Dana Walden, who is now president and chief creative officer of the company.

“I will be cheering on Josh, Dana and all of you as I sail off into the sunset,” he said. “So thank you for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving. It has meant more to me than I can say.”

Even as California’s soundstages suffer from a slowdown in local production, the local economy may get a boost from the state’s expanded film tax credits.

Medical drama “The Pitt,” a “Family Guy” spin-off and a kids’ science competition show from late-night host Jimmy Kimmel are among the 16 shows that received tax credits for filming in the state, the California Film Commission said Wednesday.

In total, the projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. More than 4,500 cast and crew members will be employed across the 16 shows, along with more than 50,000 background actors, the film commission said.

New to this round of awardees are animated shows and competitions, which were added to the film and television tax credit program during its revamp last year. Under the program, producers can receive up to 25% of qualified production expenses back in the form of credits that they can apply toward tax bills they have in the state.

“California’s creative economy isn’t just part of who we are — it helps power this state forward,” Gov. Gavin Newsom said in a statement. “From the folks on the soundstage to the people designing the sets, these are jobs that anchor communities.”

HBO Max’s “The Pitt” received a credit of $24.2 million, while “Stewie,” a spin-off of Seth MacFarlane’s irreverent adult cartoon “Family Guy,” was awarded $6.4 million. Kimmel’s “Schooled!” competition show, which pits young scientists and their experiments against one another, secured $6.9 million.

Since the state’s production incentive program was bolstered last year, more than 100 films and TV projects have received tax credits.

But it has taken a while for those shows to jump-start local production, which has seen a sustained slump since the pandemic, the dual writers’ and actors’ strikes in 2023 and spending cutbacks at the studios.

That lag has affected the business of local soundstages.

For the first half of 2025, the average occupancy rate at Los Angeles County soundstages was 62%, slightly lower than the 63% average recorded in 2024, according to new data from the nonprofit FilmLA, which tracks local production.

Those figures mark a significant decline from the average occupancy rate of 90% seen from 2016 to 2022, according to FilmLA data.

That’s been a problem for local soundstage operators, which had aggressively funded development of new properties or acquired them only to see production slow.

Earlier this year, Hackman Capital Partners said it was turning over the historic Radford Studio Center in Studio City to Goldman Sachs.

There’s still nine months to go before audiences can return to Arrakis. Until then, Warner Bros. has released a trailer to hold us over.

“Dune: Part Three,” which takes place nearly two decades after the events of the sequel, promises more political upheaval, introduces a ruthless new villain and teases Paul and Chani’s future child, according to a trailer released Monday.

“Dune” stars Zendaya and Javier Bardem joined Denis Villeneuve to preview the trailer for the conclusion to his famed sci-fi trilogy. New cast members Anya Taylor-Joy and Robert Pattinson were also in attendance at the AMC event while Timothée Chalamet, Florence Pugh and Jason Momoa sent video messages.

“It’s a trailer launch? It looks like a premiere,” Villeneuve said during the event, which included a Q&A with the cast and was met by thunderous applause from the audience.

Zendaya, who stars in the films as Chani, a Fremen warrior, expressed excitement about the upcoming film, saying the “movies have meant so much to me over the years. I’ve literally been able to grow up in my entire 20s doing them, and so they have such a special place in my heart.”

Here’s everything to know about “Dune: Part Three.”

What is ‘Dune 3’ about?

The trilogy’s final installment picks up 17 years after the second movie, though the trailer hints at continued war and political turmoil in Arrakis and beyond.

Paul Atreides, played by Chalamet, is dealing with the consequences of defeating the Harkonnens and becoming emperor, struggling with his role as the Fremen’s messiah.

The trailer hints at a possible future child between Paul and Chani. The pair, who are introduced as potential love interests in the first movie, were split up at the end of the second film, with Paul marrying Princess Irulan, played by Pugh, in a political move to ensure his ascension to the throne.

In the trailer, Chani asks Paul, “If we have a girl, what will we name her?” hinting at a possible reconciliation. In a pre-recorded video played during the event, Pugh addressed the love triangle, and asked Zendaya what her character thinks of Irulan’s marriage to Paul.

“You guys will just have to see for yourself what happens, because it’s quite the journey,” Zendaya said during the event.

At the heart of the third movie, Villenueve said, is a love story, adding that “the heartbeat of the film is still the relationship between Paul and Chani,” according to Deadline.

The trailer also offers a sneak peek at continued battles in the universe, even years after Paul, the “chosen one,” becomes emperor.

Jason Momoa returns as Hayt in “Dune: Part Three,” a clone of Duncan Idaho.

(Warner Bros. Pictures)

When will ‘Dune 3’ be released?

The final installment of the trilogy will hit theaters Dec. 18.

“Dune: Part Three” is inspired by “Dune Messiah,” the second novel in Frank Herbert’s “Dune” series. The first two films were adapted from the first novel.

Villeneuve had planned to temporarily step away from the “Dune” universe, but “felt a responsibility to finish the story” after seeing audience excitement for the second film, which was released in 2024, he said during the trailer launch. The first two movies were box-office hits, collectively grossing more than $1.1 billion worldwide. “Part Two” won two Oscars, and the first film earned six Oscars out of 10 nominations, primarily in the technical categories.

The third film “is a very different movie,” Villeneuve said during Monday’s event.

“It’s a good idea to come back to those worlds, not by nostalgia, but by urgency,” he said. “If the first movie was contemplation — a boy exploring a new world — and the second one is a war movie, this one is a thriller. It is action-packed and tense. More muscular.”

Robert Pattinson plays shape-shifting villain Scytale in “Dune: Part Three.”

(Warner Bros. Pictures)

What have ‘Dune’ stars said about the film?

The trailer’s exclusive screening was introduced via a video message by Chalamet, who said Villeneuve’s third film is “a true act of cinema.”

“This film would not exist without the master of cinema, the great artist that is Denis Villeneuve,” Chalamet said. “I’m not alone in saying thank you to Denis for his dedication in bringing the ‘Dune’ films to life — and now the ‘Dune’ trilogy to life.”

Momoa, who starred in the first film as Duncan Idaho before his character was killed off, will be back in the third installment, he announced in a video at the event. Taylor-Joy, who had a brief cameo in the second movie, will return as Paul’s younger sister Alia.

Pattinson will take on the role of shape-shifting villain Scytale. Pattinson said he got the job just months after he asked Zendaya how he could join the “Dune” cast while on set filming their black comedy “The Drama.” (The A24 movie opens April 3.)

“Everybody wants to work with Denis. He’s a master,” Pattinson said during the event. “When you see the scope and scale and ambition of these movies, like on set, you get why they feel like this on the screen. It’s just extraordinary.”

Anya Taylor-Joy plays Paul’s younger sister Alia.

(Warner Bros. Pictures)

“The Voice of Hind Rajab,” a heartbreaking retelling of the efforts to save a 6-year-old Palestinian girl amid Israel’s attacks on Gaza, will be honored at the 98th Academy Awards on Sunday — without one of its star players.

Actor Motaz Malhees, who stars in the film as Red Crescent dispatcher Omar, confirmed Thursday that he will be absent from the festivities because of President Trump’s travel ban against Palestinians. “I had the honor of playing one of the lead roles in a story the world needed to hear,” Malhees said on Instagram, “but I will not be there.”

“I am not allowed to enter the United States because of my Palestinian citizenship,” he added.

Trump announced his widened travel ban in December, noting his decision to “fully restrict and limit the entry of individuals using travel documents issued or endorsed by the Palestinian Authority,” along with people from countries including South Sudan and Syria. The president issued the order months after he presented his 20-point peace plan for the Gaza strip — efforts that some Palestinians feel have been now brushed aside amid U.S. and Israeli attacks against Iran.

Malhees said in his post that the restriction “hurts” but offered his followers and supporters a kernel of truth: “You can block a passport. You cannot block a voice.”

“The Voice of Hind Rajab,” directed by Tunisian filmmaker Kaouther Ben Hania, is nominated in the international feature category. The film is set in a Red Crescent call center in Ramallah and centers the 70-minute phone recording of Hind’s pleas for help as she waits with her family in a trapped car for emergency responders. She and two medics dispatched to her location were killed in February 2024 in Israeli attacks in Gaza.

The film earned the grand jury prize at the Venice Film Festival.

Though unable to celebrate the film at the Oscars on Sunday, Malhees said he stands “with pride and dignity” and that his “spirit will be with the Voice of Hind Rajab that night.”

“Our story is bigger than any barrier, and it will be heard,” he said.

A representative for the Academy of Motion Picture Arts and Sciences did not immediately respond to a request for comment.

As Malhees publicized his absence, fellow stars including Oscar winner Riz Ahmed and Emmy-nominated “Succession” star Arian Moayed rallied in support.

“Your work in the film and the film itself are both incredible and will live on forever,” Ahmed commented.

“You are brilliant, azizam,” Moayed replied to Malhees. “And this is heartbreaking and unjust.”

JUNIOR Andre has made his acting debut alongside his father Peter and an EastEnders star, just days after revealing his secret job.

The young lad, 20, played the role of Johnny in a new coming-of-age drama called Finding My Voice.

Finding My Voice is about a girl called Mel who feels like she has nowhere to go after facing a series of tragedies.

Her family breaks up due to alcoholism following the death of her baby brother, plunging her into deep struggles.

Johnny is a friend who is always there for her when she needs someone to believe in her, which is truly heartwarming.

At the end of the month Finding My Voice will host its first screening as a part of Manchester‘s Film Festival.

MAKING MOVES

First look at Junior Andre in new film role as he joins dad Peter in movie

ROAD SMASH

Junior Andre reveals he fractured his ankle in horror motorway car accident

The announcement was made via the film’s Instagram page.

Another Instagram post announced who Junior would be playing, which received a roaring reception from his friends and family.

The post shows a carousel of snaps of Junior featuring in the film, the first of which includes the name “Johnny” over his head in block lettering.

The caption says: “Junior Andre. Johnny is Mel’s school friend and one of the few people who’s always there when she needs someone to believe in her.

“Finding My Voice movie is out on 28th March at Manchester Film Festival. See you there!”

Right at the top of the post’s comments section is Peter, gushing: “Yea my son,” followed by three flame emojis.

Junior’s girlfriend Jasmine Orr added: “Can’t wait for this,” along with three hand emojis forming hearts.

Fans felt the same level of enthusiasm, saying “Wow” and that they “can’t wait to watch” the film.

Peter plays the role of Costas, who more details are yet to be released about.

Meanwhile EastEnders‘ Michelle Ryan stars as Lisa Kendall, a mother.

The news comes just days after Junior revealed he’s been secretly working for the London underground at night.

He said he’s been “grafting, lifting heavy metals, cutting, filing [and] painting.”

Junior revealed the job during an episode of his sister Princess‘ show, The Princess Diaries.

He noted: “You actually have to pay to do music. People don’t really know that.

“I live off myself, I don’t live off Mum and Dad – that’s what people think, that we do.”

Junior’s mother is Katie Price, who got married to Lee Andrews earlier this year in a whirlwind romance.

Twenty-three years ago, the Oscars were in turmoil. President George W. Bush had just begun an invasion of Iraq after the Sept. 11 attacks, and as the nation’s TV screens filled with the “shock and awe” campaign, many did not know quite how to proceed with Hollywood’s biggest night.

ABC wanted to postpone, presenters begged off, Jack Nicholson urged his fellow actor nominees to boycott (animated feature winner Hayao Miyazaki did), documentary winner Michael Moore attempted to directly shame Bush from the stage (to loud boos) and many of the acceptance speeches acknowledged the war and included pleas for peace.

President Trump’s recent decision to attack Iran is not precisely the same — American troops have thus far not invaded and the Bush administration’s media blitz of rockets lighting up the sky is absent. No one expected the Oscars to be canceled or delayed and there has been no talk of boycotts; whether the war and (if polls are to be believed) its general unpopularity are noted, either by host Conan O’Brien (who has already said he will not be mentioning Trump) or the winners, remains to be seen.

But if recent history is any indication, it could go unmentioned. Which would be something of a political statement in itself: It would be terrible if the false notion that awards shows have become too political had a chilling effect on anyone who wanted to use their platform to speak about something important they care about.

Thus far, film and television awards winners have stayed away from the issues that have prompted widespread public outrage and protests this year — including the often brutal methods of Immigration and Customs Enforcement, the ongoing concern over the war in Gaza and the endless revelations of the Epstein files.

Despite complaints from certain quarters, awards shows, particularly the Oscars, rarely have more than one or two truly political moments. But this year, the absence has been notable.

Compared with the Grammy Awards, where Trevor Noah, in his final stint as host, roasted Trump and anti-ICE sentiment reigned in speeches and on pins, this year’s Golden Globes (which aired three weeks before the Grammys) appeared to exist in another world. A few stars wore similar pins and spoke on the red carpet, but aside from a few digs about Epstein and CBS News from host Nikki Glaser, there was no mention of the many issues roiling the nation. (As he was beginning to make late-in-speech remarks about this being an important time to make films, Kleber Mendonça Filho, Brazilian director of the non-English language film winner “The Secret Agent,” ran over time and was played off.)

Has Hollywood lost its spine? Or, having been beset for years by grievances that the Oscars have become “too political” and “too woke,” are filmmakers and actors saving their outrage and passion for social media and bowing to pressure to keep their acceptance speeches grateful and celebratory?

“I know that there are people who find it annoying when actors take opportunities like this to talk about social and political things,” said Jean Smart on the Golden Globes red carpet, adding, when she won for actress in a TV comedy: “There’s just a lot that could be said tonight. I said my rant on the red carpet, so I won’t do it here.”

It was an echo of Jane Fonda’s famous 1972 Oscar speech: “There’s a great deal to say, and I’m not going to say it tonight.” And, perhaps, a response to more recent “shut up and dribble” criticism, as distilled by 2020 Golden Globes host Ricky Gervais, who cautioned the audience: “If you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world.”

Indeed, as Oscars ratings have plummeted over the last 20 years, some have suggested that political speechifying is to blame. This is patently absurd. Viewership for just about everything except the Super Bowl has dropped dramatically, and the Oscars ratings do not take into account the millions who watch portions of the show on social media. (We’ll see what happens when the Oscars move to YouTube in 2029.)

And the Oscars have never been particularly political.

Speeches that deviate from the ubiquitous laundry list of thank yous always get more attention, whether they’re political or not, for the simple reason that they’re so dang unusual. But taken as a whole, either by decade or particular telecast, the Oscars is mostly, and consistently, apolitical. As in, almost every minute of a three-hour-plus show, year after year after year.

Unless, of course, you consider thanking God to be political. Which I do not. Nor do I categorize as such any speech that underlines the fact of a historic win (as Halle Berry did in 2002), encourages Hollywood to tell more diverse stories (as Cate Blanchett did in 2014) or reminds audiences in a general way that systemic oppression and war are bad (as Adrian Brody did amid his ramblings in 2025).

Many of the speeches that have been branded as “political” are simply underscoring the themes of the films being honored — in 2009, both Dustin Lance Black and Sean Penn advocated for gay rights when accepting Oscars for “Milk,” which chronicled the life of assassinated gay rights activist Harvey Milk. Likewise, John Irving supporting abortion rights and Planned Parenthood after winning for “The Cider House Rules” in 2000 and John Legend and Common speaking passionately about civil rights, past and present, after winning for “Glory,” a song from the civil rights drama “Selma,” in 2015 was only natural.

Sacheen Littlefeather refuses the lead actor Academy Award on behalf of Marlon Brando in 1973.

(Bettmann Archive)

A purely political speech, to my mind, directly calls out specific leaders, policies or crises, which may or may not have anything to do with the film being awarded. The most famous are, of course, Marlon Brando’s decision to send Sacheen Littlefeather to accept his Oscar for “The Godfather” and protest the treatment of Native Americans, and Vanessa Redgrave’s 1978 denunciation of “Zionist hoodlums” who were demonstrating against her involvement in a pro-Palestinian documentary even as she accepted for supporting actress in “Julia.”

In 1993, while many Oscars attendees wore red ribbons to honor those living with HIV/AIDS and call for government assistance, then-couple Susan Sarandon and Tim Robbins took it further, using their time as presenters to ask the U.S. government to allow HIV-positive Haitians being held at Guantanamo Bay to be let into the country. That same year, presenter Richard Gere used the fact that “1 billion people” were watching to send “sanity” to Chinese leader Deng Xiaoping in the hopes that he would allow the people of Tibet to “live free.” (Then-Oscars producer Gil Cates quickly denounced the three presenters; Gere did not return to the Oscars until 2013.)

A year after Moore blasted Bush over Iraq, Errol Morris, winning for “The Fog of War,” briefly compared the war in Iraq to the “rabbit hole” of Vietnam (which was the subject of his film). In 2015, “Boyhood” star Patricia Arquette used most of her supporting actress speech to demand equal wages for women. That same year, “Birdman” director Alejandro G. Iñárritu dedicated his award to his fellow Mexicans, with the hope that they would be treated by Americans “with dignity and respect” so that together, they could build a “great immigrant nation.” (Which frankly plays more purely political now than it did at the time.) A year later, Leonardo DiCaprio spoke about climate change after winning for “The Revenant.”

In 2019, Spike Lee, accepting for adapted screenplay (“BlacKkKlansman”), called on voters in the upcoming election to mobilize and “be on the right side of history” and in 2024, “Zone of Interest” director Jonathan Glazer, accepting for international film, riled many by comparing the dehumanization required for the Holocaust to occur with events in Gaza.

Even now, the most notable examples of political speeches, the ones that are always mentioned, are from the freaking ‘70s. Which certainly obliterates the idea that the Oscars have grown more political and undermines the argument that it is a Big Problem.

Put these relatively few moments next to the endless hours of acceptance speeches that, with varying degrees of emotion, honor the art of movie-making and the legions that support those who are doing it (including God, parents, spouses, children, some random but heaven-sent teacher) and it’s difficult to see much “wokeness.”

The people who gather at the Oscars are storytellers, and many of the stories they tell deal with uncomfortable truths about our collective past, present and future (including best picture front-runners “One Battle After Another” and “Sinners”). Of course nominees and winners have opinions about politics, science, social issues, international conflict and those suffering without recourse or voice — that’s why they make movies. So if a few of them decide to skip thanking their manager or the studio head and say a few words about climate change or whatever current law/policy/presidential action they believe is making lives worse for a lot of people, that’s their choice. They just won an Oscar!

For those uncomfortable watching it, just use the 45 seconds to grab a snack and by the time you’re back, the host will be moaning about how long the show is and the next five winners will inevitably cry and smile; praise their fellow nominees; thank the producers; say something sweet about their cast, crew and mamas; before telling their kids they love them and it’s time to go to bed.

And that’s OK too.

Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.

The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.

“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.

Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.

The amount of time films are available exclusively in theaters — known as “windowing” in industry jargon — has become a contentious topic of conversation in Hollywood.

That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.

Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.

Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.

At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.

The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.

Jennifer Runyon, a film and television actor known best for her roles on “Ghostbusters,” “A Very Brady Christmas” and “Charles in Charge,” has died. She was 65.

Runyon died Friday, according to a Sunday statement reportedly posted to her social media account, which has since gone private.

“This past Friday, our beloved Jennifer passed away. It was a long and arduous journey that ended with her surrounded by her family,” the statement read, according to ABC7. “She will always be remembered for her love of life and her devotion to her family and friends. Rest in peace our Jenn.”

“Bewitched” actor Erin Murphy shared in a Sunday post on Facebook and Instagram that Runyon died “after a brief battle with cancer.”

“Some people you just know you’ll be friends with before you even meet,” Murphy wrote in her tribute. “She was a special lady.”

On the 1980s sitcom “Charles in Charge,” Runyon portrayed Gwendolyn Pierce, a fellow college student of the show’s titular live-in housekeeper (portrayed by Scott Baio) and the target of his affections.

In his Facebook tribute, fellow “Charles in Charge” actor Willie Aames described Runyon as a “dear dear friend, muse, and encourager.”

“From the moment we met on set all those decades ago- I knew you ‘got me,’” wrote Aames. “Watching you slip away these last few months was one of the hardest times of my life… I can still hear your voice so clearly. No one will ever be able to fill the massive hole that’s been left in our hearts… ever.”

A Chicago native, Runyon made her television debut as Sally Frame in the long-running soap opera “Another World.” She also appeared in episodes of “Magnum, P.I.,” “Quantum Leap” and “Murder, She Wrote.” Runyon also portrayed the grown-up Cindy Brady in “A Very Brady Christmas.”

Her film credits include the 1984 classic “Ghostbusters,” where she appeared as one of the students participating in the ESP study conducted by Bill Murray’s Peter Venkman.

On Instagram, Runyon’s daughter Bayley Corman, an actor who has appeared on TV shows such as “Chilling Adventures of Sabrina,” “Bel-Air” and “Running Point,” described her mother as “the kindest most compassionate person i’ve ever known.”

“All of the best parts of me came from you,” Corman wrote in her tribute. “i would give anything for one more day together.”

Walt Disney Co. and Pixar’s “Hoppers” took the box office crown this weekend in an encouraging sign for the company’s original animated films.

The film generated $46 million in ticket sales in the U.S. and Canada, marking the highest domestic opening for an original animated movie since 2017’s “Coco,” according to studio estimates. The global box office total for “Hoppers” was $88 million.

The zany movie features a young environmental advocate who “hops” her consciousness into a robotic beaver and bands together with other woodland creatures to stop a planned freeway expansion through a glade.

The film is directed by Daniel Chong, who created the Cartoon Network animated series “We Bare Bears.”

The muscular debut for “Hoppers,” as well as the strong performance from Sony Pictures Animation’s “Goat” last month, has been a positive sign for audience interest in original animated films.

Since the pandemic, theatrical returns for animated sequels have far surpassed that of original films. Disney’s “Zootopia 2,” for instance, has now grossed more than $1.8 billion in global box office revenue, with more than $426 million domestically. Disney and Pixar’s 2024 hit “Inside Out 2” also crossed more than $1.6 billion globally.

By contrast, Disney and Pixar’s 2025 original film “Elio” brought in about $154 million in worldwide box office revenue.

Original films are vital to Pixar’s future, as the Emeryville-based studio built its reputation on its string of nearly uninterrupted original blockbuster hits, including 1995’s “Toy Story” and 2004’s “The Incredibles.”

Paramount Pictures and Spyglass Media Group’s “Scream 7” came in second at the box office with $17.3 million in its second weekend in theaters. Warner Bros. Pictures’ “The Bride!,” Sony’s “Goat” and Warner Bros.’ “Wuthering Heights” rounded out the top five at the box office, according to data from Comscore.

With several strong releases, as well as popular holdover films from 2025 that continue to bring in revenue, the first few months at the box office have been a notable improvement over last year’s dismal first quarter.

Domestic box office revenue so far is up more than 12% compared to the same time period in 2025, according to Comscore.