We’re in something like award season no man’s land right now: the whirlwind of the Oscar nominees luncheon is behind us, but most of the major precursors have yet to be handed out. Which leaves less for the pundits to chew on, perhaps, though it also means there’s finally some spare time to catch up on your reading.
I’m Matt Brennan, editor in chief of The Envelope. Let me be of some assistance.
Cover story: ‘Sentimental Value’
(Christina House / For The Times)
After an entire award season’s worth of conversations about one of the top contenders, it’s rare to hear a new one this late in the game. But when I ran in “Sentimental Value” director Joachim Trier last week, he happily shared his point of view on an anecdote his editor, Olivier Bugge Coutté, recently shared with The Envelope about killing one of Trier’s darlings. “He was right,” Trier admitted with a half-rueful smile, after describing the elaborate aerial shot over a theater audience with which he originally intended to open the film.
Such candor is also a mark of contributor Bob Strauss’ interview with Trier and star Stellan Skarsgård about making the year’s most-nominated international feature, from their discussion of the stroke that permanently altered the actor’s process to bon mots about the film’s depiction of Netflix, demanding directors and more. I was most tickled by Skarsgård’s, um, unvarnished description of the small screen: “The narrative form of television is based on you not watching,” he tells Strauss. “It explains everything through dialogue so you can make pancakes at the same time.”
Digital cover: Kate Hudson
(Christina House / Los Angeles Times)
When contributor Amy Amatangelo sent me her pitch for a story on “Song Sung Blue,” it swiftly answered the question I want every pitch to answer: Why are you the right person to write this story?
“I am a lifelong Neil Diamond fan,” she wrote. “My dad loved him. I saw him in concert as a child. My dad and I danced to ‘Beautiful Noise’ at my wedding.”
So it was a no-brainer to set her up with this week’s digital cover star, nominated for playing one half of the film’s Neil Diamond tribute band. “Although she’s had a slew of successes in the interim,” Amatangelo writes of the 25 years since “Almost Famous,” “it can sometimes seem that we’ve underappreciated, and perhaps underestimated, Kate Hudson.”
‘Train Dreams’’ not-so-secret weapon
(Lauren Fleishman/For The Times)
Speaking of pitches, the most frequently suggested subject for coverage since the Oscar nominations (not-named-Chalamet-or-DiCaprio division) may be “Train Dreams” cinematographer Adolpho Veloso. Which already made the Brazilian’s wizardry one of the industry’s worst-kept secrets. Count contributor Emily Zemler’s profile among the final nails in the coffin.
“Capturing the enormous trees that would have existed in the early 20th century was a challenge,” she writes of the film, which spans the life of an itinerant logger in the Pacific Northwest. “The production went to protected parks, where they had to be cautious about not affecting the environment. ‘How do you shoot a movie where they’re supposed to be cutting those trees, but they cannot even get close to those trees?’ Veloso says. ‘It was almost like shooting stunts.’”
POP superstar Lady Gaga is set to release a concert film about her record breaking Mayhem Ball.
The Sun can reveal the Abracadabra hitmaker, 39, has secretly enlisted British director Sam Wrench to help bring her vision to life.
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Lady Gaga is filming a concert special in Los Angles this weekCredit: Getty
The special is set to be filmed over Lady Gaga’s four nights at the Kia Forum in Los Angeles this week.
While no release date is set, the film is expected to be released later this year after being snapped up by streaming bosses following a fierce bidding war.
Sam is no stranger to concert documentaries, having previously worked with Taylor Swift on her 2023 Eras Tour film.
Not only was the film released on Disney+ but it also was rolled out across cinemas – breaking box office records in the process.
It’s not the first time Gaga and Sam have worked together.
They previously teamed up on Gaga’s 2024 Chromaica Ball HBO special which documented her 2022 stadium tour of the same name.
A source said: “Gaga has poured her heart and soul into The Mayhem Ball.
“She is so proud of everyone who has helped make the tour what it is and is keen to give it the full concert film treatment.
“Not only is it arguably her most elaborate show of all time, it’s also reminded the world that almost two decades into her career she is still at the top of her game.”
The insider added: “Gaga and Sam have a close working relationship so bringing him on board was a no brainer.
“The show will be filmed across her four dates in Los Angeles and is pencilled in for release late 2026.”
The Sun understands Sam is joining the creative team headed up by the superstar.
He will sit alongside Gaga’s fiance Michael Polansky, 42, and her choreographer Parris Goebel, 34, who are also helping creatively manage the project.
Michael is now an integral part of the Poker Face singer’s inner circle.
He was listed as an Executive Producer alongside Gaga on Mayhem – as well as landing a number of writing credits including on the record’s lead single Disease.
Gaga previously said: “Michael was in the studio every day with me. “He oversaw the whole process of making the record, completing it, helping me shape the sound of the record creatively.
“It was an amazing thing to do with your partner, because when I start to doubt myself, there is nobody that’s going to call me on it better than he is”.
Kicking off in July last year, The Mayhem Ball is one of Gaga’s biggest ever tours, seeing her play 87 dates across four continents.
Last September and October Gaga played four sold out shows at London’s O2 before a further two dates at Manchester’s Co-op Live.
By the time she takes her final bow at Madison Square Garden in April, she will have played to over 1.3million fans.
The concert film comes off the back of an already packed 2026 for Gaga.
Despite only being weeks into the year the singer has already filmed a concert special for Apple Music, performed at the Grammys and the Super Bowl and wrapped up the Asian leg of The Mayhem Ball.
Next week she will go head to head with some of the biggest artists in the world at the 2026 Brit Awards.
While she is unable to attend the ceremony due to playing a show in Texas on the same date, she is up for two of the biggest gongs of the night.
Gaga is nominated for International Artist of the Year and International Song of the Year thanks to her Bruno Mars collaboration Die With A Smile
It marks the first time in over a decade she has been nominated.
Lady Gaga’s Mayhem Tour is one of the biggest of her careerCredit: GettyLady Gaga is set to release the concert special later this yearCredit: Getty
Tom Noonan, a character actor and filmmaker known for playing villains in “Manhunter” and “The Last Action Hero,” died on Valentine’s Day. He was 74.
The death was confirmed by Fred Dekker, director of “The Monster Squad,” who wrote on Facebook, “Tom’s indelible performance as Frankenstein … is a highlight of my modest filmography.”
Noonan had a nearly 40-year career on TV and in film, making his mark with a role in “Manhunter,” the 1986 movie based on a Thomas Harris novel.
In “Manhunter,” which starred William Peterson of “CSI: Crime Scene Investigation” as an FBI agent and “Succession” star Brian Cox as Dr. Hannibal Lecter, Noonan played Francis Dolarhyde, the serial killer also known as the Tooth Fairy. It was a performance that “knocked out” Dekker, who then pursued Noonan for “Monster Squad.”
Playing a killer wasn’t unusual for Noonan, who stood 6-foot-5 or 6-foot-6, depending on who you trust. On a 2013 episode of TV’s “The Blacklist,” he played “the Stewmaker,” a man with a taste for dissolving human bodies in acid. In the 1993 comedy “The Last Action Hero” he was the Ripper, a fictional nemesis who comes to life in the high-concept film-within-a-film starring Arnold Schwarzenegger as action star Jack Slater.
Born in Greenwich, Conn., on April 12, 1951, Noonan was raised by his math-teacher mother Rita and a large extended family after the death of his father, John Ford Noonan Sr. He went to school at Yale Drama and later founded New York’s Paradise Factory theater with Jack Kruger at the site of the Paradise Ice Cream Factory, where the ice cream cone was invented. The two built a theater and rehearsal rooms where the condemned building stood.
Paradise Factory now bills itself as “bringing the rigor of theatrical discipline to the process of cinematic art, and bringing the intimacy and immediacy of the cinema into theatrical performance art.”
“I wish I had more success as an actor,” the New York-based actor told The Times with a dash of melancholy in 2015. “I think people call me because they’re channel surfing late at night and they see me in a movie on cable.”
In that story, about the actor and his friend and collaborator Charlie Kaufman and Kaufman’s stop-motion animation film “Anomalisa,” a Times staff writer described Noonan: “Like Kaufman, he has a dark worldview, an idiosyncratic sensibility, blackly comic thoughts and, at times, an endearing crankiness.”
In “Anomalisa,” Noonan was credited with playing “Everyone Else” — and that wasn’t an exaggeration. Jennifer Jason Leigh and David Thewlis played the leads; Noonan voiced more than 40 other roles in the film.
“Even I can’t tell if it’s me sometimes,” he told The Times in 2015 about the extensive studio-recording process. “I mean, I recognize the voice, but I’m not sure where it came from.”
“My first TV interview was with Tom Noonan for a local NYC show called MIDDAY(?),” actor Jerry O’Connell wrote early Wednesday on Instagram, including a blurry image of them on the show’s set. “I was so nervous. Tom was so kind. I saw him in every (NYC) play he was in after. He bought my brother and I tickets to Eddie Murphy’s RAW (we were too young to purchase). Btw, on this episode, I was talking about a movie about to come out (Stand By Me) and Mr. Noonan was talking about his movie (Manhunter). Rest In Peace LEGEND.”
Noonan appeared in the famous 1980 flop “Heaven’s Gate” and cast a creepy gothic shadow decades later in “The House of the Devil” (2009). He was a ghoulish host of a late-night television horror program in the 2005 vampire movie “The Roost,” then played a wagon-train missionary in the 2007 western “Seraphim Falls.”
In 18 episodes of the series “Hell on Wheels,” which ran for five seasons on AMC, he was the Rev. Nathaniel Cole. Other TV credits included episodes of Fox’s “The X-Files,” HBO’s “The Leftovers,” CBS’ “CSI: Crime Scene Investigation” and the Louis C.K. series “Louie” (FX) and “Horace and Pete.”
Noonan’s half-dozen directing credits include the 1994 film “What Happened Was …,” which was produced as a play, then became a movie and then won the Sundance Grand Jury Prize for dramatic feature. In addition to writing and directing the movie, Noonan played the lead male role opposite actor Karen Sillas. Noonan also won Sundance’s Waldo Salt screenwriting award for the script.
The next year, his feature “The Wife” — a dark comedy once again written, directed by and starring Noonan — was a nominee for the same Sundance Grand Jury Prize. Described by the New York Times as a “bleakly funny evisceration of modern marriage,” the movie co-starred Karen Young, who was Noonan’s wife from 1992 to 1999.
And Noonan’s 2015 movie “The Shape of Something Squashed” was born out of confusion and some despair after his agent called him with what initially looked like a part in one of the “Mockingjay” installments of “The Hunger Games” franchise. When he got the script, though, he saw only one role for someone his age, and that job — playing President Snow — already belonged to Donald Sutherland.
Turns out there never had been a part in the offing. Sutherland was just busy, and Jennifer Lawrence and the rest of the “Hunger Games” cast needed someone to rehearse with them for a week.
After recovering from a brief emotional tailspin, Noonan knocked out the script for “The Shape of Something Squashed” — then directed and acted in the film.
He was preceded in death by his older brother, “A Coupla White Chicks Sitting Around Talking” playwright John Ford Noonan Jr., who died in 2018 at age 77.
Former Times staff writer Steve Zeitchik contributed to this report.
Dozens of actors and directors, including Javier Bardem and Tilda Swinton, have condemned the Berlin International Film Festival for its “anti-Palestinian racism” and urged organisers to clearly state their opposition to “Israel’s genocide” in Gaza.
In an open letter published in Variety on Tuesday, the 81 film workers also denounced comments by this year’s president of the awards jury, Wim Winders who – when asked about Gaza – said, “We should stay out of politics”.
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They noted that the festival’s stance stands in direct contrast to its policy on Russia’s war on Ukraine and on the situation in Iran.
All of the signatories are alumni of the festival, which is also known as the Berlinale, and include actors Cherien Dabis and Brian Cox, as well as directors Adam McKay, Mike Leigh, Lukas Dhont, Nan Goldin, and Avi Mograbi.
In their letter, the film workers expressed dismay at the Berlinale’s “involvement in censoring artists who oppose Israel’s ongoing genocide against Palestinians in Gaza” and the German government’s key role in enabling the atrocities.
They said the festival has been policing filmmakers, and listed several examples from last year’s Berlinale.
“Last year, filmmakers who spoke out for Palestinian life and liberty from the Berlinale stage reported being aggressively reprimanded by senior festival programmers. One filmmaker was reported to have been investigated by police, and Berlinale leadership falsely implied that the filmmaker’s moving speech – rooted in international law and solidarity – was ‘discriminatory’,’ they wrote.
“We stand with our colleagues in rejecting this institutional repression and anti-Palestinian racism,” they added.
The film workers said they “fervently disagree” with Wenders’s statement that filmmaking is the “opposite of politics”, saying, “You cannot separate one from the other.”
Their letter comes days after Indian author Arundhati Roy said she was withdrawing from this year’s festival after what she called “unconscionable statements” by jury members, including Wenders.
This year’s festival runs from February 12 to 22.
The film workers noted that the Berlinale’s actions come at a time when the world is learning “horrifying new details about the 2,842 Palestinians ‘evaporated’ by Israeli forces” in Gaza through thermobaric weapons made by the United States.
An Al Jazeera investigation, published last week, documented how these weapons – which are capable of generating temperatures exceeding 3,500 degrees Celsius (6,332 degrees Fahrenheit) – leave behind no remains other than blood or small fragments of flesh.
Germany, too, has been one of the biggest exporters of weapons to Israel despite the evidence of Israel’s atrocities. It has also introduced repressive measures to discourage people from speaking out in solidarity with Palestinians, including in the arts.
In their letter, the Berlinale alumni noted that the international film world is increasingly taking a stance against Israel’s genocidal actions.
Last year, major international film festivals – including the world’s largest documentary festival in Amsterdam – endorsed a cultural boycott of Israel, while more than 5,000 film workers have pledged to refuse work with Israeli film companies and institutions.
Yet, the film works said, the Berlinale “has so far not even met the demands of its community to issue a statement that affirms the Palestinian right to life, dignity, and freedom”.
This is the least it can and should do, they said.
“Just as the festival has made clear statements in the past about atrocities carried out against people in Iran and Ukraine, we call on the Berlinale to fulfil its moral duty and clearly state its opposition to Israel’s genocide, crimes against humanity and war crimes against Palestinians, and completely end its involvement in shielding Israel from criticism and calls for accountability,” they added.
From “The Godfather,” “Apocalypse Now” and “Network” to “Widows,” these films capture the flinty grace of the Oscar winner, a combustible screen presence.
When Robert Duvall was floundering around in college, his father, a career Navy man who retired with the rank of rear admiral, told him to shape up — and start acting.
“I wasn’t pushed into it but suggested into it,” Duvall once told an interviewer. “They figured I did skits around the house. They figured I had a calling, or whatever, in that line.”
They figured correctly. With his weathered face and receding hairline, he did not stand out for his movie star looks but for the intensity and depth he brought to his craft. New York Times film critic Vincent Canby in 1980 called him “the best we have, the American Olivier.”
Duvall, a veteran of many leading roles but best known for his sharp portrayal of supporting characters such as “The Godfather’s” Irish American consigliere and the unhinged Army colonel who loved the smell of napalm in the morning, died at 95 on Sunday, his wife, Luciana Duvall, announced on Facebook.
“Bob passed away peacefully at home, surrounded by love and comfort,” she wrote.
Although he could play comic characters such as Maj. Frank Burns, the priggish Army doctor who was obsessed with nurse “Hot Lips” Houlihan in “MASH,” Duvall specialized in tightly wound tough guys.
In “The Great Santini,” he was a Marine fighter pilot who was as overbearing and explosive with his family as with the men under his command. In “The Apostle,” he was a preacher who killed his wife’s lover with a baseball bat. In “The Godfather” and “The Godfather Part II,” he was Tom Hagen, a buttoned-down attorney who was loyal to his mob bosses and lethal to those who got in their way. He was an expert, one critic said, in playing “self-controlled men who should not be pushed too far.”
Duvall was known for pouring himself into his characters. He could move with the grace of the tango aficionado he became or with the slow, pained gait of the cancer-ridden editor he played in “The Paper.” He was a keen student of dialect; doing movies in the South, he meandered down backroads, learning just the right way to frame a question in rural Mississippi or deliver a compliment in west Texas.
He loved playing country people and particularly loved westerns.
“That’s our genre,” he said in a 2011 interview with the News and Advance in Lynchburg, Va., near his home on a 362-acre horse farm. “The English have Shakespeare, the French Moliere, and the Russians Chekhov. The western is ours.”
When asked about his acting technique, Duvall would describe it as simply as his favorite character — Augustus McCrae, the wry trail boss on the TV miniseries “Lonesome Dove” — might have described riding a horse.
“It’s just talking and listening,” Duvall told The Times in 2006. “Nothing’s precious. Just let it sit there and find its own way.”
Nominated seven times for an Academy Award, Duvall won lead actor honors in 1983 for his role as Mac Sledge, a broken-down country singer in “Tender Mercies.” A guitar player since childhood, he did his own singing and wrote two of the songs.
Turning down his studio’s offer of a cast party at glitzy Studio 54, Duvall hosted a heartfelt hoedown in his New York City apartment. The crowd ate down-home food cooked by character actor Wilford Brimley, who had flown in from Tennessee. As the party ended at 3 a.m., an exuberant Duvall had everyone join hands for a chorus of “Amazing Grace.”
Willie Nelson — who sang duets with Duvall at the party — told Village Voice columnist Arthur Bell that “Tender Mercies” was dead-on accurate.
“These people Bobby portrayed in his movie, I grew up in those parts and know each of them personally,” he said. “And I’ll probably be that character he plays someday if I don’t take care of myself.”
Many of Duvall’s characters had hardscrabble backgrounds, but Duvall grew up in privilege. Born in San Diego on Jan. 5, 1931, he was raised in places around the U.S. where his naval officer father was posted.
When he was 10, the future star of so many westerns rode his first horse and got to know his first Texans on a family trip to see his mother’s relatives.
By his teen years in Annapolis, Md., Duvall had become an excellent mimic, absorbing dialects and mannerisms wherever he happened to be. He did hilarious impressions of people like his cousin Fagin Springer, a singing evangelist from Virginia, and the tough old cowhands on his uncle’s Montana ranch. Years later, on the set of “The Godfather,” he did impressions of Marlon Brando.
In his more than 85 movies, many of his characters were heavy drinkers, but not Duvall. He went to a Christian Science boarding school in St. Louis and to Principia College, a Christian Science college in Elsah, Ill., and never smoked or drank.
When the affable, athletic Duvall was nearly kicked out of college for poor grades, administrators summoned his parents for an emergency meeting. Everyone agreed he was miscast as a history major. The boy’s only talent, besides tennis, appeared to be acting.
Switching to drama — a decision supported by his parents, who wanted him to stay in school — he turned his academic career around.
In a college production of Arthur Miller’s “All My Sons,” Duvall so deeply merged into the character of a ruthless businessman haunted by a bad decision that he found himself crying. “That clinched it,” wrote Judith Slawson in “Robert Duvall: Hollywood Maverick,” a 1985 biography. “Acting was for him.”
Graduating in 1953, Duvall was drafted into the Army. He trained in radio repair at Camp Gordon in Georgia but spent his off-duty time with a community theater group in nearby Augusta. When he left the service in 1955, he studied at New York’s Neighborhood Playhouse School of the Theatre, a training ground for such top talents as Gregory Peck, Steve McQueen and Jon Voight.
Sanford Meisner, the school’s legendarily demanding director, was impressed.
“There are only two actors in America,” he told playwright David Mamet years later. “One is Brando, who’s done his best work, and the other is Robert Duvall.”
In New York, Duvall worked night shifts at the post office, washed dishes and kept auditioning. He shared an apartment at Broadway and West 107th Street with a fledgling actor named Dustin Hoffman. The two also palled around with Gene Hackman and James Caan.
Over coffee at Cromwell’s Drugstore, the yet-to-be-discovered actors would discuss the mumbling, moving technique of another young actor.
“If we mentioned Brando once, we mentioned him 25 times,” Duvall told The Times in 2014.
After several years of off-Broadway productions, summer stock and roles in TV dramas such as “Naked City” and “The Twilight Zone,” Duvall landed his first Hollywood role in 1962.
As Boo Radley, a mysterious recluse in “To Kill a Mockingbird,” Duvall was on-screen for less than five minutes at the film’s end and had no lines. But he played a pivotal character and the film launched a cinematic career that lasted more than five decades.
In the 1979 Vietnam War epic “Apocalypse Now,” he delivered one of the most famous lines in the history of film. As the swaggering Lt. Col. Bill Kilgore, he orders U.S. helicopters to destroy a coastal Viet Cong-held village so he and his men could surf there.
“You smell that? Do you smell that? Napalm, son. Nothing else in the world smells like that,” Kilgore says nonchalantly as the village before him erupts in flame. “I love the smell of napalm in the morning.”
Kilgore’s chilling monologue topped the list of best movie speeches in a 2004 BBC poll. Duvall later said he had no idea people would remember it.
Duvall seldom played leading men, but Mac Sledge, in “Tender Mercies,” was a notable breakthrough.
“This is the only film where I’ve heard people say I’m sexy,” he told an interviewer. “It’s real romantic — rural romantic. I love that part almost more than anything.”
Duvall was married three times before meeting Luciana Pedraza, a young woman who was dared by her friends to approach him on a Buenos Aires street and invite him to a tango gathering. She played opposite him in “Assassination Tango,” a 2002 film in which he portrays a hit man dispatched to Argentina. They married in 2005 and for years practiced tango on a dance floor they installed in one of their barns.
In addition to his wife, Duvall is survived by his older brother William, an actor and music teacher. His young brother John died in 2000.
Duvall’s legacy includes a wide range of films, from “True Grit” to “True Confessions.” He played a retired Cuban barber in “Wrestling Ernest Hemingway”; a cynical TV executive in “Network”; a dirt-poor Mississippi farmer in “Tomorrow”; a quietly effective corporate attorney in “A Civil Action”; a middle-aged astronaut in “Deep Impact”; a grizzled cattleman in “Open Range”; a tobacco company bigwig in the satirical “Thank You for Smoking”; and in the miniseries “Ike,” he was Gen. Dwight D. Eisenhower.
He also tackled some less commercial projects. In 1977, he directed a documentary about a Nebraska rodeo family, “We’re Not the Jet Set.” In 1983, he wrote and directed “Angelo, My Love,” a drama inspired by and starring Romani whom Duvall came to know in New York City.
He worked well into his later years. In the 2009 film “Get Low,” he was a backwoods hermit who staged his own funeral. Two years later, he was a rancher and ex-golf pro who takes a young golfer under his wing in the spiritual drama “Seven Days in Utopia.” And four years after that, he played an alcoholic and abusive justice in “The Judge,” earning a supporting actor Oscar nomination — the oldest actor at the time to do so.
In “A Night in Old Mexico” (2014), he played an ill-tempered rancher preparing for suicide after losing his land to foreclosure. His plans change when he meets an adult grandson he never knew he had and the two wander across the border into bars and bordellos and reflect on life.
“No one plays wise old coots more convincingly,” the New York Times said.
Duvall drew on his inner curmudgeon throughout his career.
As an actor who prided himself on an up-close, deep-down knowledge of his characters, he sometimes bristled at direction.
“If I have instincts I feel are right, I don’t want anyone to tamper with them,” he told After Dark magazine in 1973. “I don’t like tamperers and I don’t like hoverers.”
Horton Foote, who adapted “Mockingbird” for the movies and wrote “Tender Mercies,” became one of Duvall’s few lifelong friends in the industry.
When Duvall was checking out Southern churches as he researched “The Apostle,” which he wrote, directed and starred in, the two were frequently in touch on the phone.
“I could always tell he’d been with a different preacher,” Foote told The Times in 2006, “because he’d try out these different voices.”
Authenticity was so important to Duvall that he gave some key roles in “The Apostle” to local people with little or no acting experience.
Rick Dial, who played a small-town radio reporter in the film, was actually a local furniture salesman.
“Rick improvised a lot of his dialogue,” Duvall told Backstage magazine in 2001. “At the end of ‘The Apostle’ when they cart me off, his skin turned a certain color of grief. I don’t know who told him to do that. He just did it.”
For Duvall, known as an actor who “just did it” in film after film, that was the highest kind of praise.
Frederick Wiseman, a preeminent documentary filmmaker, has died. He was 96.
The filmmaker’s death was announced by his family Monday in a statement released by Zipporah Films, Wiseman’s distribution company.
In a career that lasted nearly 60 years, Wiseman produced and directed 45 films beginning in 1967 with “Titicut Follies,” a documentary on the the patient-inmates of Bridgewater State Hospital for the Criminally Insane in Massachusetts, through 2023’s “Menus-Plaisirs — Les Troisgros,” a documentary on the Troisgros family’s Michelin three-starred restaurant in Ouches, France. His final film earned universal critical acclaim, and was recognized as the best nonfiction film of 2023 by the New York Film Critics Circle, the Los Angeles Film Critics Assn. Awards and the National Society of Film Critics.
“Wiseman, whose observational approach has often been mischaracterized as objective or omniscient, here drops any pretense to neutrality, so potent and overpowering is his sense of kinship with a fellow artist,” wrote Justin Chang in his 2023 review. “The marriage of sensibilities in front of and behind the camera is the stealthiest meeting in ‘Menus-Plaisirs — Les Troisgros,’ and the most unexpectedly satisfying.”
A scene from Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros.”
(PBS)
The filmmaker considered both Cambridge, Mass., and Paris his homes. His films, to an extent, reflected that transatlantic residency in their freshness of perspective. They display an innate curiosity and astonishing degrees of empathy, intelligence and perceptiveness, with subjects ranging from public and social institutions to cultural and specialized spaces and the minutiae of human interactions.
Wiseman’s other films included “High School” (1968), “Welfare” (1975), “Juvenile Court” (1973), “Public Housing” (1997), “La Danse” (2009), “National Gallery” (2014), “Ex Libris — The New York Public Library” (2017) and “City Hall” (2020). The varied body of work earned three Emmy Awards and an honorary Academy Award. Wiseman was also awarded Guggenheim and MacArthur Prize fellowships.
Beyond documentaries, the director also made three fiction films, “Seraphita’s Diary” (1982), “The Last Letter” (2002) and “A Couple” (2022). In reviewing the last, Chang wrote, “I suspect [Wiseman] is no more likely to impose himself on one of his fictions than he would on one of his documentaries, which ‘A Couple’ may resemble more than it appears. Wiseman has spent a career probing the complex inner workings and painfully human errors of America’s establishments, but in marriage itself, he may have found the most fraught, mysterious and unreformable institution of all.”
Nathalie Boutefeu in the movie “A Couple.”
(Film Forum)
Frederick Wiseman was born Jan. 1, 1930, in Boston. He graduated from Willams College and Yale Law School before embarking on a filmmaking career in the mid-1960s. He remained staunchly independent, establishing Zipporah Films, named for his wife, in 1971, in order to maintain control over distribution of his work.
In addition to his filmmaking career, Wiseman worked as a theater director and actor, including a recent appearance in Rebecca Zlotowski’s 2025 film “A Private Life,” starring Jodie Foster.
Wiseman’s wife of 65 years, Zipporah Batshaw Wiseman, died 2021. He is survived by his two sons, David (Jennifer) and Eric (Kristen Stowell), and three grandchildren, Benjamin, Charlie and Tess, as well as his friend and collaborator Karen Konicek, with whom he worked for 45 years.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering about the profit margin on a $6 churro.
In the meantime, welcome back to the newsletter as we push through to the Oscars on March 15. Have you been catching up on the nominated movies? “Sentimental Value” is a delight … though just how delightful has been the subject of some debate.
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Its primary quartet of actors — Stellan Skarsgård as a legendary director angling for a comeback, Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters and Elle Fanning as an A-list actor who becomes entangled in the family drama — all received nods. Fanning’s name was the first called when nominations were announced, signaling that Scandinavian melancholy would be notably absent that morning. Never mind the hour: Champagne glasses were raised.
The celebratory scene stood in stark contrast to the vibe just two weeks earlier when “Sentimental Value” was blanked at the Actor Awards (formerly known as the Screen Actors Guild Awards). And it wasn’t the only international film ignored. The 2,500 SAG-AFTRA nomination committee voters also shunned Wagner Moura, the lead of celebrated Brazilian drama “The Secret Agent.” Moura went on to nab an Oscar nomination, one of four noms, including best picture, that Kleber Mendonça Filho’s drama earned.
The disparity between the choices of the motion picture academy and SAG-AFTRA could be an anomaly. Or it might be the latest evidence of an Oscar trend this decade. As the academy’s membership has become more global — 24% of Oscar voters live outside the United States — the Academy Awards have become increasingly an international affair, leading to a widening divide with the Hollywood guilds.
Is this a bad thing? It depends who you ask. If you queried the actors that SAG-AFTRA nominated who ended up being Oscar also-rans, the answer would be no. Those who believe that cinema is global, particularly now that American studios have largely abandoned making movies geared toward grown-ups, would have a different response.
“The fact that not one international film got in says a lot,” says a veteran awards consultant, who, like others interviewed, requested anonymity in order to speak freely about the industry. Indeed, one journalist tabbed SAG’s Actor Awards nominations the “‘America First’ List,” which, while technically accurate, might have taken the perceived xenophobia a bit far.
“The SAG Awards or Actor Awards — whatever they’re called now — are in danger of looking like a middlebrow affair,” another awards campaigner notes. “I know this is going to sound elitist, but it’s true. There’s a big difference between an organization where you have to be invited or apply to join versus one where, if you’re a disc jockey in Kansas City, you have voting rights.”
To be fair, DJs, Kansas City-based or otherwise, probably don’t vote for the Actor Awards’ nominations — just for the final awards. In the nominations round, 2,500 randomly selected active SAG-AFTRA members make the choices. To serve on the committee, members must be categorized as an actor/performer, dancer, singer or stuntperson in the SAG-AFTRA database. Could a DJ be classified as a performer? Probably not. In the guild’s view, actor and performer are synonymous, encompassing both principal and background players.
And sure, since only 7% of SAG-AFTRA actors and performers earn $80,000 or more a year, that means there are going to be a few full-time waiters on those nomination committees. But as the speeches at the Actor Awards remind us annually, it’s a profession where you’re just one job away from making it. Think of Connor Storrie, who worked at restaurants for eight years before getting his break on “Heated Rivalry.”
There’s still the question of why, say, SAG-AFTRA dancers and singers are voting on the merits of an acting performance, however. In contrast to the Actor Awards, nominations for the Oscars are decided by the academy’s various branches. Actors vote for actors, writers for screenplays and so on, with the general membership voting for best picture.
“Peer groups are deciding what’s worthy, and that’s the way it should be,” says an academy member from the public relations branch. “I’m not voting for visual effects.”
Not initially, at least. Academy members vote for all 24 categories in the final round, provided, per a rule change that went into effect this year, they attest to watching all the nominated work in the category.
SAG-AFTRA voters have rewarded non-English-language work over the years, but usually when a particular film or TV show — Bong Joon Ho’s 2019 masterpiece “Parasite” or Netflix’s “Squid Game” — is undeniable. Voters ignored recent lead turns from Fernanda Torres (“I’m Still Here”), Yalitza Aparicio (“Roma”) and Sandra Hüller (“Anatomy of a Fall”). All three went on to earn lead actress Oscar nominations.
This year’s snubbing of “Sentimental Value” is particularly puzzling as the movie featured well-known actors like Fanning and Skarsgård, an institution from roles in blockbuster franchises like “Pirates of the Caribbean” and most recently the TV series “Andor.” It’s also a film about, among other things, the blurring of art and reality and the challenges of acting. And, in the scenes featuring Fanning, it’s in English.
What gives? Like every other contender, “Sentimental Value” screened four times for voters and was available for streaming.
“I just think people are less inclined to watch a movie with subtitles at home,” says one awards consultant, alluding to the ways that passive, multiscreen viewing has encroached upon our multitasking lives. Maybe that’s why Skarsgård, when he accepted the Golden Globe award for his work in the movie, preached that “cinema should be seen in cinemas” in his speech.
Does that sound elitist? It shouldn’t. But it does seem to be a belief from a time that’s slipping away. One certainty: With the academy nominating two international features for best picture for the third straight year, global cinema is now entrenched at the Oscars. Whether SAG-AFTRA voters decide to join the party is now a question for next year.
In a smoothly run show peppered with sharp humor but, for the most part, a dearth of pointed political commentary — save for one unscripted expression of anti-ICE sentiment from “The White Lotus” star Natasha Rothwell — the 2026 Film Independent Spirit Awards celebrated its 41st edition on Sunday in Hollywood.
The ceremony has long served as a counterpoint to the Oscars: looser, more unpredictable, typically mounted in a beach tent by the Santa Monica Pier. For over three decades, it was held the Saturday afternoon right before the Academy Awards.
But this year, due to coastal planning for the 2028 Los Angeles Olympics, the Spirit Awards relocated to the Hollywood Palladium (where they were last held in 1994), a venue decked out in the show’s signature blue and pink signage and decor — a pivot that proved effective.
“We don’t have a permit,” cracked host Ego Nwodim, riffing on scrappy independent tactics in her monologue. Her athletic hosting duties had her doing everything from cornering attending celebs such as Kirsten Dunst and Jesse Plemons via a “sexual tension cam” to picking up her falafel order at the main entrance on Sunset Boulevard.
Last year’s event played more like a coronation for a widely favored front-runner, Sean Baker‘s “Anora.” That film would go on to sweep at the Oscars a little over a week later. The mood today was more tenuous, the industry crowd mulling in the lobby with cocktails, discussing the tail end of awards season and the controversy coming out of the Berlin Film Festival concerning politically cautious juror statements.
The movies that would be honored here, by contrast, were bolder than the Spirits usually go, resulting in a truly independent raft of winners. Rose Byrne won the lead actor prize (the Spirits have gone gender-neutral since 2022) for her commanding, ruinous turn in “If I Legs I’d Kick You.” Accepting the award, Byrne half-joked, “This character of Linda really could only exist in an independent film — she’s fierce and she’s gracious and she’s a middle-aged woman.”
Other awardees included the subtly wrought academia drama “Sorry, Baby,” honored for director Eva Victor‘s screenplay and its supporting actor Naomi Ackie; the star-stalking thriller “Lurker,” which took both the first feature and first screenplay awards; and Brazil’s “The Secret Agent,” claiming the prize for international film.
The afternoon’s big winner was “Train Dreams,” the little movie that could, one that emerged 13 months ago at Sundance 2025 and is now proving itself to be one of Netflix’s sturdiest Oscar contenders. It took prizes for best feature, director and cinematography, the kind of haul that suggests real momentum.
A complete list of today’s Spirit winners
FILM CATEGORIES
Best Feature “Train Dreams” (Netflix) Producers: Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman
Director Clint Bentley, “Train Dreams” (Netflix)
Screenplay Eva Victor, “Sorry, Baby” (A24)
First Feature “Lurker” (Mubi) Director: Alex Russell Producers: Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi D’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby
First Screenplay Alex Russell, “Lurker” (Mubi)
John Cassavetes Award For the best feature made under $1,000,000 “Esta Isla (This Island)” Writers/Directors/Producers: Cristian Carretero, Lorraine Jones Molina Writer: Kisha Tikina Burgos
Breakthrough Performance Kayo Martin, “The Plague” (Independent Film Company)
Lead Performance Rose Byrne, “If I Had Legs I’d Kick You” (A24)
Robert Altman Award For a film’s director, casting director and ensemble cast “The Long Walk” (Lionsgate) Director: Francis Lawrence Casting Director: Rich Delia Ensemble Cast: Judy Greer, Mark Hamill, Cooper Hoffman, David Jonsson, Tut Nyuot, Joshua Odjick, Charlie Plummer, Ben Wang, Garrett Wareing
Editing Sofía Subercaseaux, “The Testament of Ann Lee” (Searchlight Pictures)
International Film “The Secret Agent” (Neon) Director: Kleber Mendonça Filho
Documentary “The Perfect Neighbor” (Netflix) Director/Producer: Geeta Gandbhir Producers: Sam Bisbee, Nikon Kwantu, Alisa Payne
Someone to Watch Given to a talented filmmaker not yet widely recognized Tatti Ribeiro, “Valentina”
Truer Than Fiction Given to an emerging director of nonfiction features Rajee Samarasinghe, “Your Touch Makes Others Invisible”
Producers Award For an emerging producer of quality independent films with limited resources Tony Yang
TELEVISION CATEGORIES
New Scripted Series “Adolescence” (Netflix) Creators/Executive Producers: Jack Thorne, Stephen Graham Executive Producers: Philip Barantini, Brad Pitt, Dede Gardner, Jeremy Kleiner, Nina Wolarsky, Hannah Walters, Mark Herbert, Emily Feller Co-Executive Producers: Carina Sposato, Niall Shamma, Peter Balm
New Non-Scripted or Documentary Series “Pee-wee as Himself” (HBO Max) Executive Producers: Matt Wolf, Emma Tillinger Koskoff, Ronald Bronstein, Eli Bush, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken, Kyle Martin, Nancy Abraham, Lisa Heller, Sara Rodriguez
Breakthrough Performance in a New Scripted Series Owen Cooper, “Adolescence” (Netflix)
Supporting Performance in a New Scripted Series Erin Doherty, “Adolescence” (Netflix)
Lead Performance in a New Scripted Series Stephen Graham, “Adolescence” (Netflix)
Ensemble Cast in a New Scripted Series “Chief of War” (Apple TV) Ensemble Cast: Charlie Brumbly, Luciane Buchanan, Cliff Curtis, Brandon Finn, Moses Goods, Te Ao o Hinepehinga, Benjamin Hoetjes, Siua Ikale’o, Keala Kahuanui-Paleka, Mainei Kinimaka, Kaina Makua, Jason Momoa, Temuera Morrison, Te Kohe Tuhaka, James Udom
With yesterday’s Oscar nominees luncheon in the books, the marathon that is awards season is now entering the home stretch. But that doesn’t mean there’s no grist left for the mill, especially when it comes to those — like this week’s cover subject, 73-year-old first-time nominee Delroy Lindo — whose names weren’t necessarily on pundits’ nominations predictions lists.
Through Feb. 26 we’ll be more sharing stories like his, and many others, before Oscar voters cast their final ballots for the March 15 awards. I’ll let my friend Glenn Whipp regale you with tales from his interview with “Sinners” star Lindo when he sends his next newsletter on Friday. In the meantime, read on for more highlights from this week’s issue.
Digital cover story: Wagner Moura
(Jason Armond / Los Angeles Times)
Basking in the sun outside The Times newsroom ahead of his digital cover shoot last month, Wagner Moura seemed exceptionally relaxed about spending his Tuesday afternoon in El Segundo with a bunch of journalists. But don’t let “The Secret Agent” star’s easygoing personality fool you into thinking he’s aloof in any way.
As contributor Lisa Rosen writes in her profile of the actor, he’s unafraid to draw pointed comparison’s between Kleber Mendonça Filho’s acclaimed political thriller — nominated for four Oscars, including lead actor — and contemporary politics, from disgraced Brazilian President Jair Bolsonaro to federal agents in American streets.
“This is also a film about infamy, because he’s being persecuted so unfairly,” he tells Rosen, comparing his character’s fate to that of Minneapolis residents Renee Good and Alex Pretti. After their deaths, he continues, “lies were spread about them online. It’s so cruel, and so it’s killing the person twice.”
But I don’t think you need to be intimately acquainted with Hawke, who also appeared on an Envelope digital cover last fall, to find him and Kaplow high-caliber raconteurs of the joys, and occasional indignities, of making independent films. “Sometimes you get to set and it’s easy to shape the text to make it more your own. The process here was for me to get rid of Ethan,” says Hawke. “It was to try and match the screenplay. I don’t ever remember working as hard — or [director] Rick [Linklater] being as mean to me.”
As far as hooking the listener to a story goes, Lorenz Hart, the loquacious lyricist that Hawke and Kaplow pay homage to in “Blue Moon,” would be proud.
Inside the race for best editing
(Illustration by Vartika Sharma / For The Times)
Oscar voters have occasionally been accused of making this award about the most editing instead of the best editing, but from the descriptions of this year’s five nominees, I think we can safely say that whomever the winner ends up being, their achievement will have been genuinely outstanding.
As contributor Bill Desowitz discovered from his outreach to the editors of “F1,” “One Battle After Another,” “Marty Supreme,” “Sentimental Value” and “Sinners,” coping with trauma is the surprising through line among the disparate scenes the nominees themselves chose as most pivotal to their films. (Given the volume of the footage some of them waded through, they might be suffering it too.)
The Fantastic Beasts actor has previously shared the story of their first meeting.
Describing his superstar fiancée as “the most beautiful woman in the world”, he revealed they met at a mutual friend’s birthday party in LA in 2024.
The pair bonded after discovering they were reading the same book.
“We sat next to each other and realized we were reading the same book, which is crazy,” Callum told The Sunday Times in October.
“It’s called ‘Trust’ and I had just finished the first chapter and I told her and she looked at me and said ‘I just finished the first chapter too’. I said, ‘So we’re on the same page.’”
The book Trust is a 2022 Pulitzer Prize-winning novel by Hernán Díaz exploring themes of money and ambition.
Since going public, the couple have been spotted together at awards ceremonies and film premieres on both sides of the Atlantic.
They are expected to marry later this year.
Dua and Callum confirmed their engagement in June 2025Credit: Getty
In this episode of The Envelope video podcast, Teyana Taylor describes the “slingshot” of success that’s come with “One Battle After Another” and shares her insights as to why fictional revolutionary Perfidia Beverly Hills does what she does in the film.
Kelvin Washington: Hello, everyone, and welcome back to The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen as well. Hopefully you all have been great since the last time I saw you. Everybody been good?
Mark Olsen: Of course.
Washington: Well, I tell you what, there’s a list of folks who’ve been very good because they’ve been nominated for an Oscar. And obviously, you kind of get the usual suspects, if you will. And then you get some surprises out there. Some folks you go, “Whoa!” So I want to start with you. Either of you can jump in on this. Is there someone that maybe surprised you, a film or something that you were just excited about or maybe someone said, “Them again?” or “That film again?”
Olsen: I think it was very exciting that “Sinners” got the most nominations of any film ever with 16 nominations. It was nominated in every category that it was eligible for. To see a movie that has had commercial success and felt like a cultural moment now being recognized somewhere like the Academy Awards, it’s just exciting to see that all coming together and rolling along for that film, regardless of how it turns out at the show.
Villarreal: I was very excited to see Rose Byrne get acknowledged for “If I Had Legs I’d Kick You.” Because I was worried about that movie losing steam after all the raves it got at Sundance [in 2025] and it’s a smaller movie. I wasn’t sure, “Are people going to remember it?” But I just think she’s so great in that film.
I was sort of surprised that Chase Infiniti didn’t get nominated.
Olsen: Because of the nature of the movie, the whole lead/supporting business was tough, and also it being her first movie, it’s a little harder to get that nomination — especially in lead actress, faced with, say, Kate Hudson, someone who’s been in the business for a long time, is much beloved in the industry, has obviously family historical ties to Hollywood. It’s interesting to see even in the nominations this sort of alchemy of like, “a little of this, a little bit of that” as far as who the academy was choosing to recognize.
Washington: You know, I go back to something you said, Mark, when you go to “Sinners.” You mentioned the blockbuster feel of it, getting people’s butts to the theaters, spending money. And also kind of original. We’ve had vampire movies before, but, you know, you get the “Transformer 12’s” and “Expendable 32’s.” I think a lot of folks were excited to see something original that also had commercial success as well.
Another film that had a bunch of success is “One Battle After Another.” You had a chance to speak with a star from that film, who’s been a star in her own right musically, but now into the film world, with Teyana Taylor.
Olsen: That’s right. It’s so exciting. She’s nominated for best supporting actress. This is a long movie, it’s over two and a half hours long. She more or less exits the picture about 30 minutes in. So I think it says something about the strength of her performance that her character kind of hovers over the rest of that movie. You feel her in the movie, even though she’s actually not onscreen. So at the Oscar nominees luncheon recently, we had a chance to sit down with Teyana and she was just so vibrant, so full of energy, really has a great attitude about this moment for herself. I mean, she just recently won a Golden Globe, she hosted “Saturday Night Live.” So much is like happening for her, seemingly right now and she’s just got this real like, taking it all in, very open to it [attitude]. It was really an exciting conversation.
Washington: A culmination of all her hard work. Here is Mark’s conversation with Teyana Taylor.
Teyana Taylor.
(Ian Spanier / For The Times)
Mark Olsen: You were just at the Super Bowl. About a week before that, you were a nominee at the Grammys. About a week before that you hosted “Saturday Night Live.” About a week before that you won a Golden Globe. And you’re here today as an Academy Award nominee. I’m sure I’m leaving some things out. I would say what’s the last year been like for you, but I feel like, what’s the last month or two been like for you? It feels like the rocket ship has really taken off.
Teyana Taylor: Yeah, it’s really taken off. I’m so blessed and I’m so honored and I’m filled with so much gratitude to just see so many prayers get answered all at once, where I’m also OK with one at a time. But it’s all happening, you know? And I’m just beyond blessed. And like we were talking about earlier, just how much fun I’m having with it. I’m really having a good time and I’m taking it all in because life is short and life is so fragile. So I just try and take time to enjoy life and enjoy my blessings and enjoy just being alive and well.
Olsen: Has there been a moment that felt the most surreal, like a “What is happening to me right now” moment?
Taylor: Honestly, all of it, because it reminds me of a slingshot, you know what I’m saying? It’s just like, here’s the way, here’s the way, here’s the way, here’s the way, here’s the work, here’s the prayers, here’s the tears, just here, here, here, here, here. And then whoosh — whatever the ball hit, it knocked down everything at once. And that’s what this feels like. It feels really good because literally everything is happening at the same time. So it’s not like only one moment or only two moments that’s making me feel this way. It’s everything. The small wins, the big wins, the medium wins. Every single win and every single blessing is a big deal to me. You know what I’m saying? Even my Ls. I’m not gonna win everything and I’m not gonna get everything, and some things are not even meant for me. But even those are blessings. It’s preparation for something that is in store for me and something that is meant for me, because all of this is already written. What’s for you is for you and will be for you, because that’s just what’s written. So I have that mindset.
Olsen: You’ve been doing this since you were a teenager, at first as a choreographer and a dancer, a singer, an actor, you’re going to direct your first feature soon. What keeps you moving through all of this, through these different disciplines and pursuits?
Taylor: My babies. My support system. My village. My community. I love to make my people proud. I love to make my peers proud, my family. I just love to make everybody proud and that’s what keeps me going. Even right now, I’m also in culinary school. So it’s just juggling that, but taking out the little moments to just be quiet and cook and feed my people. So it’s a push. It’s understanding it’s a marathon and that it’s not a sprint. It’s a part of the faith walk. And I think that’s what keeps me going, to wake up and feel so blessed, how could I ever complain? How could I ever be like, “Oh, this is too much”? It is everything I’ve ever asked for. I’m never going to complain about answered prayers. What pushes me is just the reassurance from my support system, the reassurance from Father God himself, the reassurance for my babies. They keep me going. That’s who I do it for. I want to create generational wealth. So them babies are my reason. They are my why.
Olsen: To start asking you about “One Battle After Another,” your character, Perfidia Beverly Hills, she’s inspired a lot of conversation and some controversy. For you, was there something about that character that you felt you hadn’t seen on screen before?
Taylor: Yes. Perfidia is complex and she is also misunderstood. This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day and you see this woman rip this cape away and it’s just unapologetically herself — even in her weakness. And even like you said, with the controversy of her sexuality, I think her sexuality is her armor. It is also her power. She’ll give somebody what they want to get what she wants. And literally in the movie, she’s made selfish decisions. But if you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do because we have to be super this, super this, super this. Super mom, super wife, super woman, super chef; everything is always with a super in front of it. And you see this woman not really caring about what people think. Nobody can quiet her. And in this space of, “OK, you’re too loud, quiet down; you stand too tall, have a seat,” Perfidia is all of the things that they can’t make her do. She’s like, “I’m gonna stand tall, I’m gonna use my voice, I’m gonna use whatever I need to use to get what I want.” And she makes decisions that we don’t agree with, but I think one thing we all can agree on is that she’s a badass. And I can always respect anybody that’s unapologetically themselves.
Another thing that I feel like the controversy is proof of is how much of a nonfactor postpartum depression is. Half of the mistakes we see Perfidia make is her dealing with postpartum depression. You see the moment where they say, “Perfida, she’s a runner. She comes from a long line of revolutionaries.” That in itself is a pressure on her to feel like she gotta keep that going. The revolution is instilled in her. It’s a part of her identity. So imagine getting pregnant and you’re feeling like, “Oh, my God, does this slow down the revolution? Am I gonna play house with a person that’s ignoring me?” Nobody is really taking the time to think about what’s happening in her mind. We can’t control how a person handles postpartum depression. We hear her, through the door, cry, and then we see Bob put his ear to the door — and instead of him walking in, he walked away. And then what was the result of that? Her walking away. Even if it had to be walking away from Baby Willa, it’s something that she felt like she needed to do, and that’s what postpartum make you do sometime. And every mother handles postpartrum depression differently. But I think that’s what I love about her character, because you get to see a harsh reality that I know is hard to take in. But when you watch it a few times you understand exactly what’s happening. … I think that’s what makes the letter at the end so important. Because you hear the pain, you hear the hurt, you hear the regret, you hear the accountability, “Do you have love? Are you happy? Will you try and change the world like we did? We failed, but maybe you will not.”
And that’s another thing. This is a story that Paul Thomas Anderson wanted to tell. It was Perfidia’s job to go and anchor this boat and stay there and create the path for Willa to take on these battles, because her past haunted Willa and Bob. That’s a part of Perfidia being supporting — supporting the next steps of what is for Willa. It’s for Willa to go on and to rise. So you see Perfidia in the beginning of the movie, you see her drive this boat, you see her get to the middle of the sea and you see her anchor herself. And from there, we have to continue the story. So I’m happy that the controversy around her can create dialogue like this, can create healthy dialogue or even uncomfortable dialogue. As long as it’s dialogue and we’re conversing and we are speaking and people are speaking from their point of views, I can absolutely respect that.
Olsen: Is that a conversation you expected to have? When you were making the film, were you and Paul, or you and your co-stars talking about the depiction of Black women in the movie? Or have you been surprised that’s been such a talking point now that the movie’s out in the world?
Taylor: Honestly, I’m not surprised of any of the talking. I think one thing that I said before the movie even dropped and we were doing our press junkets, I was always very boisterous about the fact that this movie, period, not just the character, would definitely shake the table, and it would definitely spark, whether it was great debates or — I love conversation and I like when we can converse. Get it off your chest, tell me how you feel. And I’m open to receive that. So I knew that it would shake the table. I also knew that it needed to be done. Postpartum depression is a big thing for me that I feel like it needs more light. It needs light around it. We need more solutions for it. And like I said, you see this person, this woman in survival mode. You see this woman be ignored. You see this woman be fetishized. And is that not the truth? Is that not what happens, especially in this place of a Black woman feeling the least protected? So I’m really happy that Paul put wings on that to be able to spread and fly with that. And like I said, I know it’s probably tough to take in, but that’s what we got to see because everybody is not wearing capes. Everybody is not handling things the way you may handle things, I may handle the things, the way that person or this person may handle things. So we all just got to give grace and take in the film. It’s a story that’s being told.
Olsen: To me, one of the biggest surprises about the movie is considering how cohesive and complete it feels, to learn how improvisatory and collaborative the process of making the movie was. Were you surprised by that? What was it like for you entering into the process of making this movie with Paul?
Taylor: I was shocked at how collaborative it was. And I loved every bit of it because one thing about it is, again, when you are telling a story that someone wrote — he’s been working on this project for 20 years. This is something that I consider to be his baby. And when you’re trusting me to take on a job like this, I don’t ever wanna walk into any set and feel like I’m doing what I want to do. I just want to be of good support. If you tell me, “Hey, let’s find this together,” I’m gonna find it together. If you say, “This is my vision of what that is and this is how I want it to be,” it’s my job to give you that vision of what you want it be, and then add my little sauce on top of it. But to be fully collaborative, I thought it was really dope. We found Perfidia’s layers and we color-coordinated those layers. And I’m really happy that he let me be a part of that.
Olsen: What do you feel you brought to Perfidia or you were able to add to the character?
Taylor: I was able to add a lot. Paul was very, very collaborative. And again, we found her layers, which was the most important, especially with such a complex character. And you know, I just came from “A Thousand and One.” So I came from being another complex character, but this one was complex to a whole other level, where we almost didn’t understand why we never see Perfidia cry. But you see these little moments, like little details, in her face that’s just like, it’s this strength, but the strength — because I also don’t really love the term “strong Black woman” — it’s this strength that you feel like she has to have because the strength is really survival mode. And again, like I said, you hear her crack down and you hear her vulnerable, and nobody stepped through that door. So when you see a strong Black woman, there is no grace, it’s, “Oh, she’s OK, she fine, she got it all figured out.” And then you hear her vulnerable and you still feel like even at her most vulnerable, she got this, she’s strong. And it’s just like, “Step through the door. Step in early. Step in the first time. Hear me the first time, see me [this] time, wipe the first tear away. Would she have walked out that door on Baby Willa and Bob, had he walked through that door when he heard her cry?
Olsen: I’ve heard you a number of times when you’re talking about Paul, you always call him Paul “Let Him Cook” Thomas Anderson. What does that mean?
Taylor: Let him cook! Listen, because he to me is a master chef. And honestly, I’m very, very big on leadership. I respect the person that is a leader. What makes it so dope is because, with being in culinary school, I originally signed up for culinary school, of course, to learn the art of culinary, but to just cook, I love to cook and I wanted to learn the art of that. With being enrolled in culinary school, it’s a lot of writing work and a lot of discussion forums and a lot of quizzes and stuff like that. So you’re not only learning to cook, but you’re learning how to run a business. You’re learning how to navigate your staff, front of house, back of house, in the kitchen. You have to understand it’s a whole system in how you handle people in general. In the kitchen they call it like a “servant leader,” where your leader is in the kitchen with you, they’re cooking with you. They’re your mentor, they are your guidance, but they’re cooking with you. They’re not just pointing, “Do this, do that, boom, boom, boom.” And it’s just, like, his gentle servant leadership is something that I respect so much and something that inspires me as an upcoming movie director on how to handle and navigate my staff.
So it’s like the best of both worlds because I have PTA and then I have culinary school who’s teaching me how to be the best leader. Even in how we handle people, it’s bigger than just the people that work for us or with us. It’s also the people that come into this restaurant. It’s your customers. It’s just the hospitality of it all and the hospitality that he gives, it’s really amazing to see. I’m also a big sports girl. So even in regards to him being our quarterback, you know, he’s not on the side, pointing at what to do. He’s on the field with you. But he has an even bigger job because now he’s trusting that he’s going to throw this ball to you and you’re going to receive that ball. So we’re his receivers, we’re his wide receivers to take it to the touchdown. It’s all about being present. And that’s what I learned in culinary, it’s what I learned in sports, it’s just everything about being a leader as I prepare to lead my village and lead my community. That’s just so important to me. So I always respect people that are in the field with you. I become a warrior for you. You see Paul, you’re running in the battlefield, you look to your left, he’s with you. He’s not on a horse, he’s not on his high horse. He’s in the field with you. Let’s go, we got this! And it just makes you want to you want to go so hard for him. And that’s how I look at it. So I am a student. I am a teammate. I am a soldier. I am a warrior. That’s what I am with people that are great leaders.
Olsen: When you won the Golden Globe, your speech was so moving and you specifically spoke to your “brown sisters and little brown girls” and said that their light does not need permission to shine. Can you talk more about that? What was it that made you want to say that in that moment, specifically talking about this movie?
Taylor: I thought it was a very important moment on a very important stage. I wanted to use my voice and I wanted to use my platform. And in that moment, I had the voice and the platform to say just that. It’s nothing less than that. There’s nothing beyond that. Exactly what I said. We deserve space. What that night showed was that here’s the space. And I appreciated that. I was filled with so much gratitude. That moment hit hard for me because I was that little girl that sat on the floor on a TV watching the other queens onstage accept their awards. Like, “You can do it too, you can do it too.” And I knew that one day when it was my turn, I would tell my little queens, “You can do it too — all the little queens that look like me, you can do it too, you deserve space.” To know that also my daughters were watching as well, it’s everything to me. It’s everything for me to know that they embrace that as well. It’s so important. I’ve gotten so many women come up to me like, “Wow, that speech was just everything.” And that’s what it’s all about. That’s what is all about: to inspire, uplift and remind us that there is space.
Olsen: Before I let you go, you just bring it on red carpets time and time again. And the one thing I like is that you wear these really bold outfits, and it never looks like the clothes are wearing you. Do you have tips for people? What do you do for confident personal style?
Taylor: Honestly, follow your heart. Follow your heart. If you see it and you like it, put it together. You might put it together and be like, “That didn’t work the way I [intended].” Practice. Play in clothes. I love to play in clothes — but also will walk in the store and redress a whole mannequin. I’ll also be like, “I like that tie, I think it should be a little bit tighter.” I dream about certain outfits. I dream of certain moments where I’m like, “Oooh. I already know what I feel like I want my Oscar dress to look like. I already know what I want my Golden Globes dress to look like.” It’s always a vision. Or sometimes you might have a base. You might see something and be like, “I like this, but I feel it could use this.” Add it. If you feel like something can use something, add it. Because before you know it, now you done created your own thing. So don’t hesitate. When I was younger, I used to hesitate and be like, “This looked pretty cool, but now I’m not gonna do it.” And then later on, I see somebody try it, and I’m like, “Oh, I should have just…” Always follow your gut and always follow you heart.
As Sister Veronica questions her purpose in life on the BBC drama, we take a look inside the life of actress Rebecca Gethings
Angie Quinn Screen Time Reporter
15:00, 15 Feb 2026
Sister Veronica has taken leave from Nonnatus House in Call the Midwife (Image: BBC / Neal Street Productions / Luke Ross)
Sister Veronica’s anguish has left Call the Midwife fans in tears as she longs for a child to call her own.
When the BBC period drama commenced its 15th series this January, set in 1971, viewers were immediately met with an unexpected revelation as Sister Veronica (Rebecca Gethings) opened up about her innermost feelings, and her tale is heartwrenching.
In a candid exchange with Geoffrey Franklin (Christopher Harper), the nun disclosed her desire to become a mother herself, despite having devoted her life to the Church.
Sister Veronica had also developed a particularly close relationship with baby Christopher, providing invaluable assistance and support to the Turner family in caring for the little one.
The family decided Christopher should travel back to Hong Kong to continue receiving medical care at the British Army Hospital, and Sister Veronica accompanied the tot on his journey.
On Sunday (February 8), Sister Veronica arrived back from Hong Kong and insisted on speaking privately with Sister Julienne (Jenny Agutter) at Nonnatus House. During an emotional discussion, Sister Veronica revealed her intention to relinquish both her position as a nun and her duties as a midwife within the order.
She said: “I came back to Poplar via the Mother House. I needed to confer with Mother Mildred because I have been feeling increasingly unhappy.”
Sister Julienne responded: “I wasn’t unaware of it but our work is not about our happiness, it is about seeking no reward other than knowing that we do his will.”
The remark caught Sister Veronica off guard, prompting her to declare: “If you are quoting Ignatius of Loyola, then you are admitting the bit about giving and not counting the cost. And I can’t keep on giving and not counting the cost any longer.”
“I hoped I could bear it, but I can’t”, Sister Veronica confessed, before removing her wimple and exposing her hair for the first time.
“I have been given permission to go away for six weeks while I decide if I want to give up my vows and leave the order.”
Sister Veronica, now going by Beryl, later received consolation from Shelagh Turner (Laura Main), who had herself left the order years earlier to build a family with Doctor Turner (Stephen McGann). Beryl subsequently gathered her belongings and departed Nonnatus House. Will she return to Nonnatus House?
Who plays Sister Veronica in Call the Midwife?
Sister Veronica joined Call the Midwife in Series 12 (2023) as a new nun at Nonnatus House, replacing Sister Hilda.
She had previously worked as a midwife in Hong Kong and initially joined Nonnatus House as a health visitor. She certainly has her quirks, though she has become a much-loved member of the team and the community.
Sister Veronica is played by Rebecca Gethings, a 50-year-old English actress who was born in Canada.
Raised in Berkshire, UK, she studied drama at the Webber Douglas Academy. Starting off her career in theatre, she appeared in the West End production of Vassa.
She has gone on to star in a long list of television shows, including Queen Eleanor in The Serpent Queen, Helen Hatley in The Thick of It, Dawn in Not Going Out, Lizzie in Extras, and a guest role in EastEnders in 2001.
Rebecca has also starred in movies, including Casino Royale and The Critic. In 2015, she played PR manager, Miriam Clark, in Ricky Gervais’ film David Brent: Life on the Road.
Who is Rebecca Gethings’ husband?
In June 2025, Rebecca tied the knot with long time partner Tom Brass, opting for a pink dress after a disaster with her original wedding dress.
Rebecca and her animation director husband, also parents to two children, celebrated their union with an intimate East London ceremony.
The actress took to Instagram to share her joy, posting a stunning snapshot of her and Tom walking hand in hand as newlyweds.
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Underneath the photo, she brimmed with enthusiasm, captioning: “I do, he do, and we very much did! All our thanks to @davidjonesphotography @iconoclast_london @justineluxton_costumedesigner.”
Speaking about her wedding dress disaster, Rebecca shared on the Call the Midwife Instagram page: “I wanted to keep our wedding very low-key – just Tom, the kids and myself. So I bought myself a wedding dress online in the sales. Just a white summer dress – nothing too fancy. It was then that disaster struck!
“Unfortunately, the dress arrived by post in a rainstorm whilst I was at work! I asked our babysitter to rescue it from behind the bin where the postman had left it. But when she turned up, she found that the rain-soaked parcel box had disintegrated completely!”
Justine Luxton, the show’s costume designer, and her assistant Anna Laflin, saved the day by making a new dress from beautiful coral fabric from Joel & Sons, which Rebecca had selected.
Call the Midwife airs Sunday at 8pm on BBC One and iPlayer
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In its opening credits, Oscar-winning director Emerald Fennell’s “Wuthering Heights” self-identifies as “based on the novel by Emily Brontë.”
Yet as Fennell has proved in a slew of interviews about the already polemical film, released Friday, the relationship between Brontë’s Gothic epic and its latest adaptation is more complicated than that.
Penned by a young female author perpetually adrift in the dark world of fantasy, “Wuthering Heights” is a transgressive novel today and was exponentially more so at the time of its publication in 1847. Its protagonists are vengeful, and its romances — including Catherine Earnshaw (Cathy) and Heathcliff’s — are ridden with violence, both psychological and physical. While Fennell’s film anchors itself in Brontë’s narrative landscape, it also takes creative liberties in service of approximating the director’s personal experience reading it as a teen.
Whereas Brontë’s novel contains “mere glimmers of physical intimacy,” Fennell’s picture is erotic, laden with steamy scenes inserted from the director’s imagination.
“They’re part of the book of my head,” Fennell recently told The Times. “I think they’re part of the book of all of our heads.”
Some book purists beg to differ with Fennell’s interpretation. Well in advance of the film’s release, the director was criticized for casting her former “Saltburn” collaborator Jacob Elordi as Heathcliff, who is repeatedly described throughout Brontë’s novel as non-white. Brontë fans have also accused the director of reducing a complex work rife with social critique into a popcorn romance.
Perhaps anticipating such backlash, Fennell in a recent interview with Fandango explained her decision to enclose the film’s title in quotation marks, saying, “You can’t adapt a book as dense and complicated and difficult as this book.”
“I can’t say I’m making ‘Wuthering Heights.’ It’s not possible,” the director said. “What I can say is I’m making a version of it.”
Here are seven ways Fennell’s interpretation of “Wuthering Heights” differs from its source material.
Fennell’s Heathcliff is white
Brontë’s “Wuthering Heights” leaves Heathcliff’s racial identity ambiguous, with characters referring to him as a “gipsy brat,” “lascar” and “Spanish castaway” at different points throughout the novel. But one thing is clear: He is not white.
Fennell’s film instead relies on class differences — and a meddling Nelly (to be discussed later) — to form the rift between its love interests.
Cathy’s brother dies young
When Mr. Earnshaw presents a young Cathy with her companion-to-be early in the film, she declares that she will name him Heathcliff, “after my dead brother.”
For the remainder of the film, Brontë’s character Hindley Earnshaw is subsumed into Mr. Earnshaw. Rather than Hindley, it is Mr. Earnshaw who devolves into the drunk gambling addict whose vices force him to cede Wuthering Heights to Heathcliff. Mr. Earnshaw’s abuse of young Heathcliff in the film makes the latter’s revenge plot more personal than his book counterpart’s against Hindley.
Cathy meets Edgar Linton as an adult
In Brontë’s novel, Cathy and Heathcliff first encounter their neighbors, the Lintons, after an outdoor escapade gone awry. Cathy gets bitten in the ankle by an aggressive dog and stays at the Lintons’ for a few weeks to heal.
Cathy sustains a similar injury in the film, but this time, she’s an adult woman, who falls from the Thrushcross Grange garden wall after attempting to spy on its grown residents Edgar and Isabella. (In the book, the two are siblings. Here, Isabella is referred to as Edgar’s “ward.”)
Aside from providing some comic relief, Fennell’s revision also fast-tracks the marriage plot that severs Cathy and Heathcliff.
Nelly is a meddler, and a spiteful one
Whereas Brontë writes Nelly as a largely passive narrator, Fennell abandons the frame narrative structure altogether and instead fashions the housekeeper into a complex character with significant control over Cathy’s life.
It is she who ensures Heathcliff overhears Cathy as she laments how marrying him would degrade her, causing him to flee Wuthering Heights and leave Cathy to marry Edgar. Nelly’s ploy comes shortly after Cathy demeans the housekeeper, claiming that she wouldn’t understand Cathy’s predicament given she’s never loved anyone, and no one has ever loved her. Thus, Nelly is characterized as vengeful toward Cathy — although, as the latter lies in her death bed, the two share a brief moment that complicates their relationship to each other.
Regardless, Fennell gives Nelly and Cathy’s relationship psychological depth that Brontë’s novel doesn’t seem to afford them.
Cathy and Heathcliff have sex (and a lot of it)
Brontë’s Cathy and Heathcliff never explicitly (in the text) consummate their professed undying love, save for a few kisses just before Cathy breathes her last.
Fennell’s “Wuthering Heights,” on the other hand, grants them an entire Bridgerton-style sex montage — they even get hot and heavy in a carriage. It’s nearly impossible to keep count of the “I love you”s exchanged during the pair’s rendezvous.
These smutty sequences certainly validate the Valentine’s Eve release.
Isabella is a willing submissive
One particular still of Alison Oliver’s Isabella is already making the rounds online, and for good reason. The shot, which depicts the young woman engaging in BDSM-style puppy play, is a stark contrast to Brontë’s characterization of Isabella as a victim of domestic violence.
In Brontë’s book, Isabella marries Heathcliff naively believing he might shape up into a gentleman and flees with their son when she realizes that is out of the question. In the film, Heathcliff is clear from their first romantic encounter that he does not love Isabella, will never love her and pursues her only to torture Cathy — and the young woman still chooses to be with him.
There is no second generation
Perhaps Fennell’s most glaring diversion from her source material is her complete omission of the second half of Brontë’s novel, which centers on a second generation comprised of Cathy and Edgar’s daughter Catherine Linton, Heathcliff and Isabella’s son Linton Heathcliff and Hindley and his wife Frances’ son Hareton Earnshaw.
In her introduction to the Penguin Classics edition of “Wuthering Heights,” Brontë scholar Pauline Nestor writes that many literary critics interpret the novel’s latter half as “signifying the restoration of order and balance in the second generation after the excesses and disruption of the first generation,” while others contend the violence that stains Cathy and Heathcliff’s relationship is bound to be replicated by their children. Either way, the structure of Brontë’s novel encourages readers to interpret each half through the lens of the other.
Fennell’s film instead ends where Brontë’s first act closes, hyper-focused on Cathy and Heathcliff. In the same way the doomed lovers see each other, Fennell figures them as the center of the world.
The Predator is airing tonight but there is an alternative film to watch that’s been branded a “masterpiece”.
‘All-time favourite’ war film The Predator fans should be streaming(Image: 20TH CENTURY STUDIOS)
An “all-time favourite” war film that’s “not just a film” but an “experience”, is available to stream.
Science fiction war film enthusiasts are set for a treat this weekend as The Predators will be broadcast on Sunday, February 15, at 12.30am, on Channel 4.
Initially released in 2018, The Predator, which forms part of the Predator franchise, follows sniper Quinn McKenna (portrayed by Boyd Holbrook) during a military operation to rescue hostages from a Mexican drug cartel when he encounters a spaceship crash landing.
Nevertheless, for those unwilling to stay awake until the small hours on Sunday to watch The Predator, there’s an even superior option.
“It is as near to being perfect as any I have ever seen”, an enthusiast on IMDb described this 1986 film. Another declared it was “one of the most thrilling films ever”, whilst a third branded it a “masterpiece” and an “all-time favourite”.
Fellow science fiction war film Aliens centres on Lt Ripley ( Sigourney Weaver ) whose shuttle is discovered by a deep salvage team after drifting in space for 57 years.
The official synopsis continues: “Upon arriving at LV-426, the marines find only one survivor, a nine-year-old girl named Newt (Carrie Henn).
“But even these battle-hardened marines with all the latest weaponry are no match for the hundreds of aliens that have invaded the colony.”
Aliens, the award-winning film helmed by James Cameron, serves as a direct sequel to Ridley Scott’s 1979 movie Alien but numerous fans have expressed their preference for it over the original.
So, if you’re eager to watch The Predator but can’t wait, Aliens is readily available for Disney+ subscribers to stream at their leisure.
With The Predator earning a paltry 34% on Rotten Tomatoes compared to Aliens’ near-flawless score of 94%, it’s clear which film is considered the superior offering.
Sigourney Weaver returns as Lt Ripley in this much-loved sequel, sharing the screen with Lance Henriksen as Bishop, Jenette Goldstein as Pvt Vasquez and Bill Hudson as Pvt Hudson.
While Weaver is most recognised for her role in the Alien franchise, she also made her mark in both the Avatar and Ghostbusters series.
“It’s nearly perfect in every way: storyline, characters, menacing threat, suspense, action, direction, music, emotion, etc”, one fan gushed about Aliens.
They added: “It’s always been a favourite of mine and still is. To me this is not just a film, it is an experience.”
When we decided to rank the best Los Angeles movies, we thought 101 titles would be plenty: room enough for undeniable classics, personal obsessions, even a guilty pleasure or two. Of course it wasn’t. You let us know, endorsing many of our selections but insisting we’d missed a few.
Sifting through your responses, 14 films had the most passionate advocacy. You’ll find them listed below in alphabetical order. Together they make up a perfectly valid alternate list, one that captures the glamour and romance of L.A. — as well as its lovable plasticity — just as well.
‘American Gigolo’ (1980)
Richard Gere and Lauren Hutton in the movie “American Gigolo.”
(Paramount Pictures)
Reader Cindy Simon from Pacific Palisades shares an anecdote: “I had just moved to L.A. from New Jersey. My friend and I — young mothers — ducked out of our baby-centered life to see ‘American Gigolo.’ The first scene was the incredible Richard Gere smoothly walking outside a Malibu beach house. My friend and I literally gasped!”
There is so much to recommend to this movie — an excellent choice and a regrettable omission on our part. Not only is it responsible for introducing Blondie’s “Call Me” to the world, it does so via an opening credits scene of Pacific Coast Highway cruising that all but defined L.A. hedonism as the ’70s became the ’80s.
‘The Anniversary Party’ (2001)
Jennifer Beals, Alan Cumming and Jennifer Jason Leigh in the movie “The Anniversary Party.”
(Peter Sorel / Fine Line Features)
“A dysfunctional showbiz marriage in the Hollywood Hills, a party with a lost dog, what’s not to love?” asks reader Jim Ehlers of Pasadena. “It’s so iconically L.A. — the sexy mid-century modern house. When do you get Parker Posey, Gwyneth Paltrow and John C. Reilly in the same cast?”
That spectacular glass-walled home in the Hollywood Hills is the Schaarman House, designed by architect Richard Neutra. But fans know the movie for other reasons: Phoebe Cates came out of retirement to act with her “Fast Times at Ridgemont High” co-star Jennifer Jason Leigh. Today’s audiences ogle a young Alan Cumming.
‘City of Gold’ (2015)
Jonathan Gold in the documentary “City of Gold.”
(Sundance Selects)
Junko Garrett of Eagle Rock says this documentary “captures the essence of L.A.: diversity and vibrancy, amazing food and people. I was a big fan of Jonathan Gold’s articles and looked forward them every week.”
So did we. Gold’s omnivorous enthusiasm remains a guiding light for so many Angelenos and his Pulitzer-winning food writing is easy to find. We’re still going to several of the film’s featured restaurants: Jitlada, Chengdu Taste, Guelaguetza.
‘Crash’ (2004)
Thandiwe Newton and Matt Dillon in the movie “Crash.”
(Lorey Sebastian / Lions Gate Films)
More than a few of our readers bemoaned the omission of an Oscar-winning best picture like “Crash.” Says Jim Rodriguez of Torrance, it “captures the quintessential reality that, in L.A., all the levels of social strata, at one time or another, exist side by side on our roads and freeways, separated by a few feet, metal and glass. And yet, still so isolated from each other.”
And Ian Barnard of DTLA calls the movie “a wonderful antidote to Hollywood’s whitewashed and unrealistically glamorous depictions of L.A.” It shows the city “in all its diversity, prejudices, contradictions, inequities and generosities.”
To us, “Crash” will always be the movie that stole “Brokeback Mountain’s” glory. But let’s be generous and note that Carney’s Restaurant on Ventura gets a nice moment.
‘The Day of the Locust’ (1975)
William Atherton, left, and Donald Sutherland in the movie “The Day of the Locust.”
(Paramount Pictures / Getty Images)
The Nathanael West novel is, of course, essential, so where’s the movie? Reader Andrea Hales, a San Diegan who lived in Los Angeles for 15 years, calls the film version “eerie and fascinating, capturing the essence of Los Angeles: the city of hopes and dreams, fires and riots. The setting is 1930s Hollywood but it could be today.”
One thing is certain: As a one-stop shop for classic L.A. locations, you can’t do much better than “The Day of the Locust,” which takes us to the Ennis House, Paramount’s iconic Bronson Gate and Grauman’s Chinese Theatre.
‘Earthquake’ (1974)
A scene from the movie “Earthquake.”
(United Archives / Hulton Archive / Getty Images)
Reader Dina Schweim, writing from Winston-Salem, N.C. (fine, we’ll allow an outsider’s perspective in this case), expressed her disappointment to not find “Earthquake” on our list: “There are few things I love more than a good disaster movie that obliterates L.A. to balance out fanciful and the corrupt — and yes, I was pleased to see that ‘Volcano’ made the list but ‘Earthquake’ really does capture the raw core of what destruction in L.A. can look like.”
The film was mostly shot on the Universal backlot and we wish it had more of an authentic L.A. feel. Still, if you harbor satisfaction at seeing the city get trashed (and who doesn’t on occasion?), we’re not getting in the way of that rumble.
‘(500) Days of Summer’ (2009)
Joseph Gordon-Levitt and Zooey Deschanel in the movie “(500) Days of Summer.”
(Chuck Zlotnick / Fox Searchlight Pictures)
You like this one. Really like it. “It celebrates and beautifies the city in a way few other movies ever have,” says Anthony Cavalluzzi of Yorba Linda, adding, “Its absence completely invalidates the list.” And Michael Backauskas of Beverlywood writes, “I went to see it five times and I never do that.”
Any film about an aspiring architect is going to make the most of its locations. If you mourn the lovers’ bench at Angel’s Knoll Park, know that it became immortal because of this film.
‘Get Shorty (1995)’
John Travolta and Rene Russo in the movie “Get Shorty.”
(MGM)
This comedy’s dialogue was quoted in our comments twice. For reader Sean Dickerson of Beverly Grove, the movie gives us “maybe the greatest line about our city: ‘What is the point of living in L.A. if you’re not in the movie business?’” And for David Hughes of Sierra Madre, the moment comes when John Travolta’s gangster-turned-Hollywood-wannabe is asked what he knows about the movie business: “I don’t think the producer has to know much.”
There is an unforced charm to the way Travolta’s character falls in love with Hollywood — he’s already a movie geek but other elements fall into place for him. Eagle-eyed viewers will recognize both the Aero and Vista theaters.
‘Grand Canyon’ (1991)
Kevin Kline and Danny Glover in the movie “Grand Canyon.”
(20th Century Fox)
Paul Krekorian of Encino calls this one “a brilliant and underrated study of life in Los Angeles. In a deeply personal way it lays bare so many of the societal challenges Los Angeles always struggles with — economic segregation, racial division and injustice, violence, the disparity between Hollywood-created facades and the reality of ordinary life, and the struggle to find meaning and substance.”
Its writer and director, Lawrence Kasdan, was also responsible for “The Big Chill,” a similar portrait of generational flux, and there are quiet moments in “Grand Canyon” that are some of his best. It also starts with a Lakers game.
‘Knight of Cups’ (2015)
Christian Bale in the movie “Knight of Cups.”
(Melinda Sue Gordon / Broad Green Pictures)
Reader Peter Turman of Brentwood sees depth in Terrence Malick’s oblique portrait of a distracted screenwriter (Christian Bale) searching for grace but finding a lot of sex, calling it “a fever-dream meditation on Los Angeles and Hollywood, with its promises, chimeras, illusions, seductions, nightmares and disappointments, told by a great filmmaker who knows of what he speaks.”
Malick shot all over Los Angeles but his moments on the Warner Bros. lot, the enormous numbered studio buildings looming, may be his most beautiful.
‘Lost Highway’ (1997)
Patricia Arquette and Balthazar Getty in the movie “Lost Highway.”
(October Films)
Even with two other David Lynch films placing on our list, that wasn’t enough for Clark Leazier of West Hollywood, who calls the L.A. vistas and landmarks in “Lost Highway” “the most burned in my brain — particularly the Firestone Auto Shop that is now the popular All Season Brewing in Mid City. Also it captures Southern California nighttime driving in a messed up yet accurate way.”
Lynch obsessives know “Lost Highway” to be the one narrative film in which you can see the director’s own house, part of his compound on Senalda Drive in the Hollywood Hills, used as the setting for his main characters’ mansion.
‘Spanglish’ (2004)
Paz Vega, left, Téa Leoni and Adam Sandler in the movie “Spanglish.”
(Bob Marshak / Columbia Pictures )
Says Rochelle Lapides of Ventura County, “It tells one of the essential stories of our Los Angeles-bound Mexican immigrant population and the cultural challenges they face. Also, in my opinion, it’s one of Adam Sandler’s best dramatic roles.”
Agreed, especially on Sandler, whose turn in “Punch-Drunk Love” so impressed director James L. Brooks, he decided to cast him here. The film’s romantic patio scene is filmed at the Beverly Hills restaurant Il Cielo.
‘Star 80’ (1983)
Mariel Hemingway, left, Eric Roberts and Cliff Robertson in the movie “Star 80.”
(Paramount Pictures / Getty Images)
“Talk about dying for the dream,” writes William Mariano of Escondido. “It was filmed in the same spot she died.” He means Playboy model Dorothy Stratten, murdered by her sicko husband Paul Snider in a Rancho Park home that was actually used by the movie’s production while filming their dramatization of the crime.
“Star 80” does crystallize the ominous side of the L.A. myth, as a place where you’ll arrive, find success (and exploitation) and be destroyed in the process. Bob Fosse completists need to see it; it was the “All That Jazz” director’s final movie.
‘Tequila Sunrise’ (1988)
Kurt Russell, Michelle Pfeiffer and Mel Gibson in the movie “Tequila Sunrise.”
(Warner Bros. Pictures)
Jean Clark of Manhattan Beach celebrates this thriller’s cast, cinematography and plot, which she sums up as “classic good guy vs. bad guy and the woman who loves them both, set against the dark underbelly of glamorous L.A. and its golden beaches back in the 1980s.”
And Jean would know — the movie was largely shot around Manhattan Beach. But don’t go looking for Michelle Pfeiffer’s restaurant Vallenari’s. It was entirely constructed on a soundstage.
Jury chair Wim Wenders said filmmakers ‘have to stay out of politics’ when asked about German support for Israel’s genocidal war in Gaza.
Indian author Arundhati Roy has announced that she is withdrawing from the Berlin International Film Festival after what she described as “unconscionable statements” by its jury members about Israel’s genocidal war on Gaza.
Writing in India’s The Wire newspaper, Roy said she found recent remarks from members of the Berlinale jury, including its chair, acclaimed director Wim Wenders, that “art should not be political” to be “jaw-dropping”.
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“It is a way of shutting down a conversation about a crime against humanity even as it unfolds before us in real time,” wrote Roy, the author of novels and nonfiction, including The God of Small Things.
“I am shocked and disgusted,” Roy wrote, adding that she believed “artists, writers and filmmakers should be doing everything in their power to stop” the war in Gaza.
“Let me say this clearly: what has happened in Gaza, what continues to happen, is a genocide of the Palestinian people by the State of Israel,” she wrote.
The war is “supported and funded by the governments of the United States and Germany, as well as several other countries in Europe, which makes them complicit in the crime,” she added.
During a panel to launch the festival on Thursday, a journalist asked the jury members for their views on the German government’s “support of the genocide in Gaza” and the “selective treatment of human rights” issues.
German filmmaker Wim Wenders, who is the chair of the festival’s seven-member jury, responded, saying that filmmakers “have to stay out of politics”.
“If we made movies that are dedicatedly political, we enter the field of politics. But we are the counterweight to politics. We are the opposite of politics. We have to do the work of people and not the work of politicians,” Wenders said.
Polish film producer Ewa Puszczynska, another jury member, said she thought it was “a bit unfair” to pose this question, saying that filmmakers “cannot be responsible” for whether governments support Israel or Palestine.
“There are many other wars where genocide is committed and we do not talk about that,” Puszczynska added.
Roy had been due to participate in the festival, which runs from February 12 to 22, after her 1989 film, In Which Annie Gives It Those Ones, was selected to be screened in the Classics section.
Germany, which is one of the biggest exporters of weapons to Israel, after the US, has introduced harsh measures to prevent people from speaking out in solidarity with Palestinians.
In 2024, more than 500 international artists, filmmakers, writers and culture workers called on creatives to stop working with German-funded cultural institutions over what they described as “McCarthyist policies that suppress freedom of expression, specifically expressions of solidarity with Palestine”.
“Cultural institutions are surveilling social media, petitions, open letters and public statements for expressions of solidarity with Palestine in order to weed out cultural workers who do not echo Germany’s unequivocal support of Israel,” organisers of the initiative said.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy answering all of the above to this newsletter’s initial question.
Everyone loves a surprise or two on Oscar nominations morning, and this year gave us the gift of Delroy Lindo, 73, finally earning his first Oscar nomination for his standout performance as bluesman Delta Slim in “Sinners.”
Some people are still smiling about the news. Lindo certainly is.
Lindo and I talked about the lessons he has learned as an actor over the course of a career that has spanned a half-century. He recalled the self-doubts that plagued him when he first played the lead in “A Raisin in the Sun,” the story of a struggling Black family dealing with discrimination in 1950s South Chicago, and how he overcame those fears when he revisited the role three years later.
“This was an absolute period of growth for me as an actor all because I learned the most important thing: preparation, preparation, preparation,” he told me.
But even when you exercise that level of care, you still deal with doubt. Actors will be the first to tell you that they’re needy, neurotic.
To play Delta Slim, Lindo read books on the blues, listened to Son House, Muddy Waters and Howlin’ Wolf and immersed himself in the culture of the Mississippi Delta. Musicians helped him hone his harmonica and piano playing. He was ready.
But that doesn’t mean he couldn’t use a little affirmation for a final boost.
Lindo says there were two such “seminal moments” for him while making “Sinners.” The first came when they filmed the scene where Lindo stands as his car passes a chain gang. Delta Slim exhorts the prisoners to “hold your heads.”
“[Director] Ryan [Coogler] was very nervous,” Lindo says. “He didn’t want any accidents.”
Shortly after shooting the scene, the movie’s unit publicist, Anna Fuson, emailed Lindo’s agents, telling them how his work had moved her and the crew.
“That doesn’t happen,” Lindo says, his voice cracking with emotion.
Later they shot Delta Slim’s monologue, in which he recalls the lynching of a fellow musician, ending with Lindo breaking into a guttural humming and drumming, expressing pain that transcends words. That night Zinzi Coogler, Ryan’s wife and a producer on “Sinners,” wrote Lindo telling him how much that scene had meant to her.
“Those two moments gave me a grounding,” Lindo says quietly. “It let me know this work is impacting people. And you can’t put a value on that kind of thing.”
We had our wedding reception at the Grand Hotel Royal in Sorrento, south of Naples. We danced to two guitarists playing Justin Bieber’s Despacito with our 50 guests singing and dancing along with us. We watched as the sun began to melt into the Mediterranean Sea from this time-capsule hotel balancing on the edge of a cliff. I floated out of my body and felt a rush of euphoria – perhaps it was the limoncello spritzers. We’ve returned many times and I get the same rush – the gelato, the pizza, the people, it feels as if I’m in a Richard Curtis film. Charlotte Sahami
A cosy whisky bar amid the majesty of Skye
The cliffs and lighthouse at Neist Point. Photograph: Daniel Lange/Alamy
Skye’s dramatic landscape and stunning viewpoints make the perfect romantic getaway. It’s steeped in history and captivating walks, such as the otherworldly Fairy Pools and the isolated Neist Point. We stayed at the Cuillin Hills Hotel where there’s a cosy drawing room with a fireplace and a great whisky bar. The rooms are comfortable, stylish and each one has a super-king-sized bed. However, the highlight is the Michelin-recommended restaurant which offers exquisite food with expansive views out over Loch Portree and the pretty harbour. Nic
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The silence of Slovenia’s Lake Bled
The island in the middle of Lake Bled. Photograph: Bruce Alexander/Getty Images
My girlfriend rowed us across the glassy water of Lake Bled in a wooden pletna, the only sound the creak of oars and the occasional splash of a swan settling nearby. The place is famously picturesque, but the island in the middle of the lake itself felt like a secret; quieter, stiller. It felt like ours for the evening. We climbed up the 99 steps to the Church of the Assumption, then sat on the worn stone as the sun dropped behind the Julian Alps, turning the lake amber and rose. Neither of us spoke. We didn’t need to. Tom Cowie
A second honeymoon in San Sebastían
A view from Hotel Monte Igueldo. Photograph: James
San Sebastián always does it whatever your romantic life stage! Amazing food (of course); two iconic, beautiful, sweeping beaches; views to die for; hotels to fit all budgets. My partner and I went first in 2001, pre-kids and marriage. We enjoyed the cheap wine and clubbing till 4am. We went back in 2013 – a second honeymoon – Hotel Monte Igueldo on the cliff top (reached by funicular) still has the best view of any hotel we’ve ever been to. We went back in 2023, with our late-teens kids renting an apartment – they did their own thing (loved it), and we recreated those bar crawls and walks on the beach – wonderful. James
Chilling on the Seine in Paris
The Off Paris Seine hotel and bar. Photograph: Hemis/Alamy
The best place for a romantic weekend? Off Paris Seine is a floating hotel and bar, permanently docked on the Seine River near the Gare d’Austerlitz, with an infinity swimming pool. It does brilliant breakfasts that are worth every euro. Walk it off by heading out to stroll along the quays to Île Saint-Louis. Hopefully, you’ll work up an appetite in time for wonderful Bouillon de l’île, a vegetarian restaurant only open to 3pm. So delicious. Carry on strolling Le Marais and then chill with the Monet water lilies at Musée de l’Orangerie. The city centre is a lot more pedestrian and cycle-friendly these days. Paris has been transformed. Sarah Ackroyd
Fairytale gardens near Stuttgart
The Ludwigsburg Palace Gardens. Photograph: Alamy
The Ludwigsburg Palace Gardens close to Stuttgart has an area called the Fairytale Garden where fairytales have been recreated in beautiful surroundings. You can ask Rapunzel to let down her hair and see Hansel and Gretel’s house. This may sound childish, but it is actually a very nice outing, including for couples who can be childish together (and are perhaps inspired about future sons and daughters!). Asa
A roof terrace sunset in Venice
‘The clouds finally parted and there was a glorious sunset.’ Photograph: Aletheia97/Getty Images
Two bedraggled tourists; after hours spent tramping the streets of Venice in the rain, we had one mission remaining. Arriving at the Danieli Hotel in soaked kagouls but sporting our most charming smiles, we pleaded with the concierge to be allowed up to the hotel’s renowned roof terrace. Our reward? As the clouds finally parted, a glorious sunset and unrivalled panoramic views over tiny gondolas in San Marco basin, the Grand Canal, and the Venetian lagoon beyond. With a couple of gins, we celebrated 30 years of love, life, and the thrill of romance. Kate Harris
The love language of Seville
The Real Alcázar. Photograph: Alfredo Matus/Alamy
The gardens of the Real Alcázar in Seville are exquisite with their orange tree-lined avenues and pristinely kept paths – perfect for an afternoon walking hand-in-hand in the Seville sunshine. It’s easy to find a quiet corner of the enormous grounds to sit and contemplate life together or while away an afternoon at the easygoing cafe enjoying the warm air and each other’s company. The palace is also a maze of fabulous courtyards and if your love language involves visiting scenes from Game of Thrones together, then this also ticks the boxes (the Real Alcázar was the setting for the Martell family’s gardens and palace in Dorne). Layla Astley
But if you’re reading it on a smartphone, then you’re one of the suckers that Sam Rockwell is hoping to reach when his unnamed time traveler barges into a late-night Los Angeles diner screaming, “I am from the future and all of this goes horribly wrong!” The patrons pause scrolling to glance at this unhinged, unwashed man wearing a crown of computer wires wrapped around his head like an IT messiah. Then they get a good look at his shoes when he stomps on their tables, kicking cheeseburgers as he tries to make these regular folks engage with the tech-pocalypse he swears is coming.
It’s a sermon we’ve heard plenty of times before and possibly even delivered ourselves. Coming from the ever-charismatic Rockwell, a lecture to stop wasting our lives online sounds no more insurmountable, only more immediate.
Half of the world will die, he foretells. The other half will be too distracted to notice. That is, unless a handful of strangers join him right now, right this moment, to fight for humanity’s cerebral freedom. Unsurprisingly, volunteers don’t raise their hands. (The one eager guy who does has failed him too often in other scenarios.) But Rockwell’s time traveler — he really is one — is used to a firewall of resistance. He’s given this speech at this diner 117 times. Some combination of the 47 people in it is fated to succeed.
That opening scene sounds as if an AI merged “The Terminator” with “Groundhog Day.” True, Matthew Robinson’s funny, savage and surprising script doesn’t downplay its inspirations. (He even lets Rockwell rip off Indiana Jones’ line about snakes.) But the screenplay gets so intricate and angry — and so shamelessly ambitious — you can’t believe someone in today’s Hollywood was willing to put up the money to get it made. Even helmed by proven hitmaker Verbinski of the “Pirates of the Caribbean” franchise, it’s a feat akin to convincing someone to fund a skyscraper-sized cuckoo clock that has a bird that pops out and heckles the crowd.
Eventually, a dubious crew enlists: public school teachers Mark and Janet (Michael Peña and Zazie Beetz), grouchy ride-share driver Scott (Asim Chaudhry), assistant Boy Scout leader Bob (Daniel Barnett), jittery mom Susan (Juno Temple) and forlorn Maria (Georgia Goodman), who keeps sighing that all she wanted was a slice of pie. Rockwell also impulsively yokes in Ingrid (Haley Lu Richardson), a grungy girl in a princess dress, who seems to be on her own suicide mission. The actors are mostly just pegs in a complicated plot, but they snap into place well.
The man from the future doesn’t have a plan — and worse, he considers himself the only person who isn’t expendable. The others can die (and do). As the group shuffles toward catastrophe, Verbinski intercuts their mission with flashbacks to their civilian lives. Their ordinary days, the digital indignities they’ve borne, that’s where Verbinski really gets mean.
The film’s feints and twists are fabulous as they explore how the internet’s promise has soured. One plotline involves a corporate brainstorm to make people love and nurture their own talking adbot, essentially a human-sized Tamagotchi. In another, school shootings have become such an epidemic that when Temple’s Susan gets summoned to identify her ninth-grader’s corpse, the other grieving mothers at the station calmly chitchat about traffic until one glances over at her nonchalantly and says, “First time?”
At first, the not-so-original idea that phones have turned children into zombies is a Romero-style parody of brain rot. (The young actor Cassiel Eatock-Winnik has a great scene as a vicious teen who stares down one of her elders and says, “You’re 35? That’s, like, older than most trees.”) But Verbinski reveals an unexpected angle of attack: Here, society has groomed the next generation to behave like machines. We don’t know why, exactly, but we can imagine a few reasons.
Even coping mechanisms take fire. Susan meets more parents who’ve snapped under the strain and become nihilistic trolls raising their daughter to be toxic so it won’t matter as much if she dies. Another character is quick to insist that everything he’s looking at — the walls, the people — is a facade. A 20-something gig worker named Tim (Tom Taylor) wants to permanently live in a VR simulation. His story is a little rushed but we get the idea that Tim’s not a jerk, just an idealist who can’t handle the tawdriness of the 21st century. As he puts it, “Why would I choose this world over that one?”
Verbinski doesn’t say much outright about the creeping concern that we’re living in a highly surveilled, aggressive and unpredictable police state. He’s able to make that point without words when cops arrive and our heroes-slash-hostages, none of whom have yet done anything worse than skip out on their bill, all assume the itchy trigger finger of the law will shoot them on sight. (And they’re right.) He also makes an ominous refrain of “Thank you for your service.”
It’s easier to howl at a classic like “Dr. Strangelove,” which mocked the leaders giddyuping the planet’s destruction, than at a present-day satire where we ourselves are the joke. As with “Idiocracy” (and eventually “Eddington”), our ability to fully appreciate this merciless, furious comedy might take a decade of remove. Even then, though, I won’t like James Whitaker’s cinematography, which goes for a deliberate ugliness but just looks dishwater drab.
“Good Luck, Have Fun, Don’t Die” anticipates the audience’s resistance. We do think for ourselves and so we scour the movie for flaws that will justify the urge to roll our eyes. For example: Why does Rockwell let some characters die and not others? Is the movie just as shallow as its j’accuse of us? Some quibbles get answered. Larger questions are left coyly unresolved so that we leave the theater uneasy.
There are so many overwhelming ideas in “Good Luck, Have Fun, Don’t Die” that, at over two hours, it does have the sense of a dissociative doomscroll. There’s even a plot point involving an algorithmic overlord that creates randomly generated armies: “Ghostbusters” with AI slop. The normie survivors try to convince themselves it might send something good, like they’re thumbing TikTok hoping for a treasure worth the time. Rockwell assures them it won’t. Nothing good will ever come. And what does arrive is so hellacious that it makes the Stay Puft Marshmallow Man look sweet.
The film is too cynical to take itself that seriously; Verbinski would roll his eyes at any thoughts and prayers it could do much good. Yet, anyone born with “19” at the start of their birthyear still remembers how it felt to leave the house without a black rectangle in their hands. That makes us all time travelers of a sort, too, beacons of an increasingly distant era in which it was possible to be unplugged.
But it’s OK if you’re on your screen right now. Just sit before a bigger one to see this film.
‘Good Luck, Have Fun, Don’t Die’
Rated: Rated R, for pervasive language, violence, some grisly images and brief sexual content
EPiC is a hip-shaking, lip-curling, fist-pumping, wise-cracking, sequin-spangled, sweat-soaked, all singing and dancing grand spectacle.
It stands for Elvis Presley in Concert — a film that brings The King back into the building.
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EPiC is a hip-shaking, lip-curling, fist-pumping, sequin-spangled, sweat-soaked spectacle bringing The King backCredit: SuppliedEPiC presents Elvis singing and telling his story ‘like never before’ using restored unseen footage and unheard interviewsCredit: SuppliedEPiC is a dazzling companion to Baz Luhrmann’s 2022 biopic ElvisCredit: Supplied
Using an incredible patchwork of unseen footage and unheard interviews, painstakingly restored by high-end technicians, he is presenting Elvis singing and telling his story “like never before”.
You hear the music icon talking about his adoring fans, saying: “Those people want to see a show. They want to see some action.”
The “action” centres on two years, 1970 and 1972, and features the singer’s residencies in Las Vegas, tour engagements and upbeat rehearsals, all interspersed with telling insights from the man himself.
Aside from fleeting visits to Canada, Elvis never did shows outside the US and yet, as he admits in the movie, he yearned to spread his wings and bring THAT voice to the world.
Movingly, he performs Never Been To Spain which includes the line: “Well, I never been to England but I kinda like The Beatles.”
‘Seen all the stuff’
Now, with EPiC, he’s getting the world tour he never had.
To celebrate its cinema release next Friday, along with a soundtrack album, I’m speaking to one of the most qualified experts on “the kid from Tupelo” who changed popular culture for ever.
Angie Marchese is Vice President of Archives and Exhibits at Graceland, the Memphis mansion bought by Elvis in 1957 for $102,500.
It’s where he lived with wife Priscilla, where the couple welcomed their only child, Lisa Marie, and where he died on August 16, 1977.
Since 1982, Graceland has been a museum with exhibits including Elvis’s pink Cadillac, his private jets, his gold records, his jewellery, his ornate furniture, his deep-pile carpets and, of course, his legendary jumpsuits.
During her years living and breathing the place, vivacious curator Marchese has seen “a whole lot of Elvis footage”.
“I’ve scrolled YouTube and seen all the stuff,” she tells me.
But nothing quite prepared her for EPiC, which she first saw last year when it premiered at Toronto International Film Festival.
“I was captivated for 96 minutes,” she says. “I couldn’t take my eyes off the screen.
“You get to see a real person through this movie. That’s the guy I know from going through his archives.”
Marchese highlights the frequent snatches of interviews with Elvis, which she describes as a “window into his mind”.
“You’re hearing him telling his story for the first time, in his own words,” she affirms.
“It involved lots of manpower — finding all these interview clips, dissecting them and making a story out of them. That brought it to a personal level. If Elvis had ever done an autobiography, this is what it would be.”
Hollywood’s image of me was wrong. I knew it and I couldn’t do anything about it
Elvis Presley
Marchese also saw EPiC at Graceland on January 8, on what would have been the music legend’s 91st birthday.
“That was very special,” she says. “It was the first US screening of the movie — and you would have thought that you were at a live concert.
“Everybody in the theatre was dancing and singing and applauding. With the clarity of the footage, it felt as if you could reach out and touch him and he’s there.
“The look in his eyes, the little smirks — I’ve never seen Elvis performing this clearly before.”
EPiC begins with a rapid-fire retelling of the Elvis story and how he led the rock ’n’ roll revolution in the Fifties, even if a few stuffed shirts thought his high- octane antics “triggered juvenile delinquency”.
You see him being drafted into the US Army and posted to West Germany, serving with a tank battalion. There are glimpses of his frustrating movie career which saw him given increasingly lightweight roles, culminating in him talking to an actor dressed as a dog in Live A Little, Love A Little.
“Hollywood’s image of me was wrong,” he decides. “I knew it and I couldn’t do anything about it.”
EPiC continues with the dying throes of Elvis’s movie career coinciding with the momentous 1968 Comeback Special, his televised return to the live arena, looking as fit as a fiddle.
“The black leather suit has a 28in waist,” says Marchese, again proving what a mine of fascinating information she has at her fingertips.
“That size rolls into the next couple of years of touring. Even the Aztec Sun jumpsuit which Elvis wore in ’77 [for his last ever concert, on June 26, in Indianapolis] is not as large as people might envision it to be.”
The focal point of EPiC is his Las Vegas residencies which began at the International Hotel in 1969 and continued until the end of 1976.
You hear Elvis confessing to stage fright before emerging on to the stage in 1970 in his off-white “fringe” jumpsuit (Marchese’s favourite) and launching into the song that started it all, That’s All Right, his first hit from 1956.
Marchese believes his anxieties stemmed from a burning desire to make shows as special as he could for his fans.
“He was the kid who lived the American dream, coming from poverty in Tupelo to being on top of the world and able to do whatever he wanted, whenever he wanted.
The focal point of EPiC is Presley’s Las Vegas residencies which began at the International Hotel in 1969 and continued until the end of 1976Credit: SuppliedAngie Marchese is Vice President of Archives and Exhibits at Graceland, the Memphis mansion bought by Elvis in 1957 for $102,500Credit: facebook/elvisontourexhibition
“But he never forgot where he came from.”
Despite everything, Elvis was never exactly shy and retiring, as Marchese explains.
“He sure knew how to dress. If a kid was going to high school in the Fifties with sideburns, greased hair, his collar pulled up and wearing pink, then he was confident in who he was as a person — even if he had come from humble beginnings.”
There’s some astonishing footage of Elvis climbing off stage and wading into the crowd, hugging and kissing women — some on the lips.
Marchese continues: “One of the questions I get asked the most is, ‘Why is Elvis still so popular?’
‘He sang just to you’
“The answer is that he had a personal connection with his fans. If you were in the crowd and there were 18,000 other people in the audience with you, you felt like he was just singing just to you. He had this energy about him, and he was just so personable.
“Even if you never had a chance to get a scarf or a kiss or even get close to him, you felt like he was there for you. That really comes across in this movie.”
Another key aspect of Elvis, which shines through, is his mischievous sense of humour.
There’s a moment where he grabs a drink after complaining of feeling “dry — like Bob Dylan, only in my mouth”.
Marchese calls him “Graceland’s worst practical joker” and tells her favourite prank story. “Every year, he gave the Memphis Mafia [the nickname given to Elvis’s inner circle] Christmas bonuses,” she says.
“One year, he overheard the guys as they sat around imagining what the bonus might be. So, Elvis goes to McDonald’s down the street from Graceland and buys them all 50-cent gift certificates.
“He puts them in envelopes with their names on. Christmas Eve comes around, Elvis brings the envelopes out and hands them out.
“The guys open them up and stare at Elvis — and he just falls about laughing but, mind you, back then 50 cents would have got you an entire meal.”
Next, I ask Marchese if there’s a song in the EPiC movie which particularly grabs her attention.
He never lost this desire to please his fans, to be with them and to perform for them
Angie Marchese, Vice President of Archives and Exhibits at Graceland
“Like everyone, I love the popular ones such as Suspicious Minds, but when he sings gospel, that’s huge for me. It takes everything to another level. So my answer is, How Great Thou Art. I don’t think anyone could have done it better.”
Marchese describes how Elvis became infatuated with gospel at a young age. “He used to go to these all-night gospel sings at the North Hall in downtown Memphis when he was a kid.
“He didn’t have money to buy a ticket so he would go round to the back door and listen. Sometimes, JD Sumner [who sang at Elvis’s funeral] would sneak him in.”
Of his towering rendition of How Great Thou Art, Marchese says: “Typical gospel hymn, but Elvis put it in the middle of a rock concert. The crowd is silent, listening to every word, but it doesn’t slow down the vibe, it raises it even more.”
Just before How Great Thou Art, you see cute home movies of Elvis with Lisa Marie when she was a baby and toddler.
“It made me cry,” says Marchese. “I wonder if Baz [Luhrmann] did that on purpose because How Great Thou Art was her favourite Elvis song.”
It’s so sad to think that, like her dad, she died young and is buried beside him in Graceland’s Meditation Garden.
“Lisa was the apple of Elvis’s eye, and loved her dad more than life itself,” says Marchese.
“She was loyal, authentically who she was and also a beautiful, doting mother to her kids [Riley, twin girls Harper and Finley, and the late Ben].”
As the owner of Graceland, Lisa Marie also got to know Marchese well. “She really was a special friend. She had a lot of Elvis’s traits — she had no filter so whatever she was thinking was what she was trying to do.”
Before we go our separate ways, Marchese returns to the subject of EPiC, which showcases some of Elvis’s best-loved songs with breathless intensity — Always On My Mind, Can’t Help Falling In Love, In The Ghetto and so on.
Elvis announces that it’s time to “get dirty” before launching into a relentless Polk Salad Annie — a truly remarkable feat of film editing, employing footage from two concerts and a rehearsal, all spliced together to thrilling effect.
“That was masterful editing [by Jonathan Redmond] right there,” enthuses Marchese.
There are wonderful intimate moments where Elvis rehearses Beatles songs Yesterday and Something.
Cue one final, illuminating anecdote from the curator with an encyclopaedic knowledge.
“I actually took Paul McCartney through Graceland. He was most fascinated by the fact that Elvis had a remote control for his TV in 1965 — years before most people had them.
Elvis in a still from EPiCCredit: SuppliedEPiC captures The King at his dazzling, larger-than-life bestCredit: Getty – Contributor
“Oh, and we have the first microwave ever sold in Memphis, inside Graceland’s kitchen.”
Finally, I ask Marchese if Elvis felt “caught in a trap” by Vegas, resulting in him not touring the world.
“He loved his Vegas audience. He loved being on tour. But there was a moment in time when he couldn’t get off the hamster wheel. He had so many people relying on him.
“Yet he never lost this desire to please his fans, to be with them and to perform for them.”
If you get the chance to see EPiC, you’ll realise Elvis Aaron Presley is STILL The King.
EPiC comes to iMAX and cinemas from Feb 20. Soundtrack out same dayCredit: Supplied
Directed by Mark Neveldine and Brian Taylor, this “high-octane” action film with Jason Statham proved so popular it was then followed by a 2009 sequel.
Jason Statham hams it up in the gloriously silly and entertaining Crank(Image: Lionsgate Films)
An “adrenaline-fueled” action film has been praised as one of Jason Statham‘s best, and it’s now available on ITVX.
Crank, released in 2006, stars Jason Statham as Chev Chelios, a Los Angeles hitman poisoned with a synthetic drug that kills him if his heart rate drops. To survive, he must keep his adrenaline flowing through constant, violent and chaotic actions while tracking down his enemies.
It is a fast-paced film described to be like a “video game” in style, which sees action star Statham at his best as he performs all of his own fight and car stunts.
The film stars Statham in one of his typical roles as an action star, alongside Amy Smart as Eve Lydon, Jose Pablo Cantillo as Ricky Verona, Carlos Sanz as Carlito, and Dwight Yoakam as Doc Miles.
The film was considered a huge success and performed well at the box office, as it grossed $42.9 million (around £31.6 million) worldwide against a $12 million (about £.8.8 million) budget.
Directed by Mark Neveldine and Brian Taylor, the film proved so popular it was then followed by a 2009 sequel, Crank: High Voltage.
On film and TV ratings website Rotten Tomatoes, it scored a moderate 62% but fans have still said it’s worth a watch. One review wrote: “Crank is a relentless, high-octane action film that thrives on its breakneck pacing, jump cuts, and kinetic cinematography – all of which are seamlessly integrated into the storytelling. As a genre piece designed to deliver a near-constant dopamine rush, it excels, offering a uniquely immersive and adrenaline-fueled experience.”
A second posted: “Extremely fast-paced and action-packed psychedelic movie that really feels like a (very effective) parody of the state of modern entertainment.”
A third said: “This is a good film. Jason Statham is great and the rest of the cast is good too. The action is wild. Worth a watch if you’re a fan of Statham.”
A fourth added: “This movie is ridiculous but that is what made it a good, fun movie. It’s high-octane and over-the-top scenes made the movie such a joy to watch.”
A fifth said: “Relentlessly paced and full of ‘whoa’ moments – Crank might just be the peak Statham movie. An outlandish one vs 100 action flick that was popularised in the 80s works better here with the wink and nod to the audience that the movie is in on the gag as well.”
Another wrote: “It’s ridiculous, but highly entertaining and funny.” Another shared: “This is pure 00s action. I loved it but it took me a hot minute to appreciate the style. I can see why people wouldn’t enjoy this film but if you want an action film that doesn’t take itself seriously and has some laugh-out-loud moments, Cranks delivers.”
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